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274:(The Twenty) invited Klinger to exhibit his work in their annual winter exhibition that year in Brussels. He moved to Rome in 1889, staying until 1893, studying the Italian masters, where the 15th century artists and works from antiquity are said to have been something of a revelation to him. He also intensified his studies of anatomy, the nude, and the representation of mass and volume during this period of his life. It was a productive time in his career. In the 1890s, Klinger continued his gradual shift away from printmaking in favor of sculpting.
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464:(1884), Klinger is often regarded as the first German artist to deal with prostitution as a social problem and the hypocrisy and injustices regarding societies attitude to the subject. The series follow a middle-class woman's descent into prostitution: impregnated, deserted, then rejected by society, she descends into the depths of urban life, and ridiculed by an apathetic and indifferent genteel society. The series
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240:. He began an apprenticeship studying engraving under Hermann Sagert and soon became a skilled and imaginative engraver in his own right. Klinger visited Brussels for a time in 1879, and the following year he spent time in Munich. He was achieving some notoriety with his pen and ink drawings and prints when in 1881 he published two sets of etchings, including
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have also seen in the symbol of the glove an example of a sliding signifier, or signifier without signified—in this case, the identity of the woman which
Klinger is careful to conceal. The plates suggest various psychological states or existential crises faced by the artist protagonist (who bears a
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who called
Klinger the "modern artist par excellence". In it Klinger asserted the idea that prints and the graphic arts should have a new and significant role in the arts, distinct from painting, and were best suited for stylistic and conceptual experimentation. Also that the differences between
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145:(18 February 1857 – 5 July 1920) was a German artist who produced significant work in painting, sculpture, prints and graphics, as well as writing a treatise articulating his ideas on art and the role of graphic arts and printmaking in relation to painting. He is associated with
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was persuaded to transcribe music from
Beethoven's Ninth Symphony for trumpets and rehearse the musicians for the opening. The exhibition, presented within the specific architecture, with the sculpture, paintings, and music was in part, offered in the context of the
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had been celebrating and advocating his prints, Klinger moved to Paris in 1883 where he lived until 1886 or 1887. Klinger first began sculpting about 1883, and sculpture slowly came to dominate his output in his later years. He conceived and started work on his
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was one of the few artist active there that
Klinger felt a close affinity to. Klinger graduated from the Academy in 1877. He was drawn to and studied the etchings and prints of many masters that were more aligned with his sensibilities including
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objects. In this case, the glove becomes a symbol for the artist's romantic yearnings, finding itself, in each plate, in different dramatic situations, and performing the role that we might expect the figure of the beloved herself to fulfill.
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598:) published in 1902. The sculpture was exhibited in an earlier stage of development in Paris in 1885 and later rejected from major exhibitions in Berlin 1887 and 1888. It developed something of a cult-like reputation over the years.
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Inspired by recent accounts of archaeological discoveries of antique sculptural remains made from various colored stones, Klinger utilized a variety of materials in many of his sculptures. A mixture of bronze, ivory,
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510:, which was eventually published in 1891, and subsequently reissued a number of times. The manuscript was well circulated and well read, with a number of later artist and historians referencing it, including
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336:(1867-1941) was a writer and poet, as well as a model, muse, and girlfriend of Klinger for about 15 years. They had a daughter Desirée Klinger (1900–1973) but were never married. In 1903 he moved away from
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Schrenk, Klaus, Holger Jacob-Friesen, Anja Wenn, and Sonja MiĂźfeldt. (2007), Max
Klinger: Die druckgraphischen Folgen. Edition Braus. Staatliche Kunsthalle Karlsruhe. Heidelberg, Germany. 184 pp.
310:, complete with 15,000 square meter park, recipients of the prize were given the opportunity to stay for a few months and adsorbed the culture of the city. The first beneficiary of the prize was
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in 1902, and Max
Klinger's sculpture was brought to Vienna as the centerpiece. The Vienna Secession had hoped to purchase the sculpture but this was not to come to fruition. Headed by
191:. When Gussow left Karlsruhe to become the Director of the Academy of Fine Arts in Berlin, Klinger moved to Berlin as well to complete his studies there. Klinger shared a studio with
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and his murals. However, Klinger's sculpture received its criticism as well, some dismissing it as kitsch, while others were offended by seeing
Beethoven represented nude.
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attended the exhibition and was reported to have walked past
Klinger's sculpture without comment, although at a later time he said it had nothing to do with sculpture.
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1045:(1897), oil on canvas with mixed media, overall dimensions: 549 Ă— 965 Ă— 65 cm, (3800 kg), Ă–sterreichische Galerie Belvedere, Vienna, Austria.
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538:(1894) was intended to be an amalgamation of music, poetry, and the visual arts: to be viewed with a performance of the composer’s music, creating
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1015:(1885–87), oil on canvas, wood and plaster, overall dimensions: 370 × 752 × 65 cm, Österreichische Galerie Belvedere, Vienna, Austria.
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Klinger had a lifelong passion for music and musical elements are often reflected and expressed in his art. His print cycles were given
481:(printed 1881), the pictures were based on images which came to Klinger in dreams after finding a glove at an ice-skating rink. In the
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artist. The historian Holger Jacob-Friesen illustrates and discusses in detail the influence of
Klinger's prints on artist such as
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659:. The exhibition received extensive press, and generated a scandal. Most of the hostile and negative reviews were directed at
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257:(1904), oil on canvas, 100 cm Ă— 50 cm (39 in Ă— 20 in), Museum der Bildenden KĂĽnste, Leipzig
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970:(undated), oil on cardboard, 37.5 x 32.2 cm (14.7 x 12.6 in), Ă–sterreichische Galerie Belvedere, Vienna, Austria
923:, Klinger is mentioned in the third act when Carl talks of being able to afford "etchings by Klinger" for 80 francs.
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German
Artists' Writings in the XX Century - Max Klinger, 'Painting and Drawing'. Part One: The Overall Context
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Memorial with portraits at the tomb of Max Klinger and Gertrud Klinger by Johannes Hartmann, GroĂźjena, Germany
1325:, Opus VIII, no. 4 (1884), aquatint and etching, with roulette, 47.3 Ă— 22.5 cm, Art Institute of Chicago
1250:, Opus X, no. 6 (1887), etching with engraving and aquatint, 19.1 x 42 cm, Museum of Fine Arts, Houston
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523:) and neo-idealism, as well as form and content, were reconcilable, and both were possible. Concepts of the
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1030:(1890), oil on canvas, 191.5 Ă— 176 cm (75.3 Ă— 69.2 in), Museum der bildenden KĂĽnste, Leipzig, Germany
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In: Leipziger Stadtgeschichte. Jahrbuch 2013. Sax-Verlag Beucha 2014, ISBN 978-3-86729-129-3, S. 111–162
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624:, the artist of the Secession created works on the theme for the galleries and Roller and the architect
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Rubin, William S. (1968), Dada and Surrealist Art. Harry N. Abrams, Inc., Publishers, New York. 525 pp.
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1000:(1882), oil on panel, 37 x 63 cm (14.5 x 24.8 in), Museum der bildenden KĂĽnste, Leipzig, Germany
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device of a glove—belonging to a woman whose face we never see—Klinger anticipated the research of
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and his monumental sculptural installation in homage to Beethoven at the Vienna Secession in 1902.
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developed over a period of 20 years, culminating with Klinger's publication of his print series
1193:, Opus IV, no. 12 (1881), etching and aquatint, 15.7 Ă— 40.7 cm, Philadelphia Museum of Art
1060:(1912), oil on canvas, 192 x 126 cm (75.5 x 49.6 in), Lindenau-Museum, Altenburg, Germany
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photographed in 1902 at the 14th exhibition of the Vienna Secession with Alfred Roller's mural
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A significant portion of Klinger’s reputation is associated with his many cycles and series of
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With a receptive audience developing in Paris, where the Franco-Uruguayan poet and art critic
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sculpture while in Paris but, it was not completed and fully realized until 1902. In 1889
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Plate 1 of 'Paraphrase on the Finding of a Glove – all ten plates can be viewed in order
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1288:, Opus III, no, 6 (1880), etching, 290 Ă— 201 mm, Art Institute of Chicago, Gift of
1404:, Opus XII, no, 2 (1894), 21.8 x 34 cm, National Gallery of Art, Washington D. C.
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985:(1880), oil on canvas, 95 x 45 cm. Museum der bildenden KĂĽnste, Leipzig, Germany.
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movement. His work was also admired and a formative influence on later artist such as
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Max Klinger and Elsa Asanijeff in the garden of Villa Romana, Florence (1905)
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to a wealthy and prominent family. He enrolled in the Academy of Fine Arts in
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161:. He is best known today for his many prints, particularly a series entitled
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Wagner im Schatten – Die Geschichte des Richard Wagner-Denkmals in Leipzig.
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Klinger Vienna Secession exhibition catalog; Short bio; Beethoven Statue.
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Opus VI, no. 9 (1881), etching, 9, 11,4 x 26,1 cm, Albertina, Vienna
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Opus VI, no. 7 (1881), etching, 7, 13,5 x 25,7 cm, Albertina, Vienna
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House on the vineyard of Max Klinger at GroĂźjena, near Naumburg, Germany
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1537:. New York: The Metropolitan Museum of Art. (accessed 8 December 2020).
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was visible in an adjoining room. Even the normally shy and retiring
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299:), Opus 121, to Klinger in 1896, a year before the composer's death.
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1450:. Skira/Rizzoli International Publications, Inc., New York, 247 pp.
1385:, Opus X, no. 4 (1887), etching and engraving, 45.4 x 27.4 cm
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in southwestern France to personally select the alabaster, and the
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This article is about the artist. For the M*A*S*H character, see
574:. He studied and took measurements of Beethoven's death mask in
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Villa Klinger in Leipzig, Germany, on the river Weisse Elster (
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was installed in the central hall with Alfred Roller's mural
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Klinger was an accomplished pianist and counted the composer
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or "all-embracing art form". Klinger produced sculptures of
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1306:(1882), ink pen and brush on paper, 30.6 x 18.7 cm
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1883-1902), height: 3.10 m, Leipzig, Museum of Fine Arts
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1475:. Chartwell Books, Inc., Secaucus, New Jersey, 292 pp
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Beethoven was the theme of the 14th exhibition of the
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In Paris he started to draft his polemical text for
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Max Klinges Beethoven: Eine kunst-technische Studie
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678:movement of the 19th century and the start of the
596:Max Klinge's Beethoven: A Practical Artistic Study
472:another symbolist artist Klinger greatly admired.
281:among his friends. A friendship with the composer
1576:Birmingham Museum of Art: Guide to the Collection
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195:and the two had a mutual admiration for French
1906:Recipients of the Pour le MĂ©rite (civil class)
1719:The first six pages of the article (in German)
1626:. Harry N. Abrams, Inc., Publishers. 288 pp.
1644:Johannes Brahms: Engraving, Music and Fantasy
570:, and several different marbles were used in
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1704:. Art Literature (accessed 17 December 2020)
628:oversaw the overall installation. Klinger's
503:striking resemblance to the young Klinger).
1662:. Encyclopædia Britannica, inc. 1 July 2020
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670:Klinger was cited by many artists (notably
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157:(Youth Style) the German manifestation of
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819:Paraphrase ĂĽber den Fund eines Handschuhs
340:and bought a vineyard in GroĂźjena , near
111:Paraphrase ĂĽber den Fund eines Handschuhs
1304:Sitting Naked Woman with Dancing Phallus
1118:(1901), demotions and collection unknown
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211:was the prevailing style in Germany and
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1624:Gustav Klimt: from Drawing to Painting
1473:The Concise Encyclopedia of Symbolism
935:Paraphrase on the Finding of a Glove.
757:Print series published by Max Klinger
438:(1921), marble, by Johannes Hartmann
423:(1921), marble, by Johannes Hartmann
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1229:Paraphrase on the Finding of a Glove
1210:Paraphrase on the Finding of a Glove
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674:) as being a major link between the
478:Paraphrase on the Finding of a Glove
242:Paraphrase on the Finding of a Glove
164:Paraphrase on the Finding of a Glove
933:, on an idea inspired by Klinger's
734:, as well as De Chirico and Ernst.
1851:Artists from the Kingdom of Saxony
1809:Max Klinger - Die Macht des Weibes
1579:. London, UK: GILES. p. 226.
289:(1894) and Brahms's dedication of
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1740:"JPL Small-Body Database Browser"
1573:Birmingham Museum of Art (2010).
1535:Heilbrunn Timeline of Art History
1891:20th-century German male artists
1861:19th-century German male artists
1793:Max Klinger's Beethoven Monument
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803:), Opus V, book with 46 etchings
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187:in 1874 where he was a pupil of
1798:"This Kiss to the Whole World"
927:Inspection Medical Hermeneutics
779:Deliverances of Ovidian Victims
1800:Klimt and the Vienna Secession
1756:Gibson, Michael. "Symbolism".
1698:Mazzaferro, Francesco (2015),
1622:Nebehay, Christian M. (1992),
1527:The Graphic Art of Max Klinger
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1896:19th-century German sculptors
1886:20th-century German sculptors
1656:"Max Klinger | German artist"
1642:Musée d'Orsay. Max Klinger /
1173:Drawings, prints and graphics
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1871:20th-century German painters
1856:19th-century German painters
1713:Marie-Louise Monrad Møller:
1187:Cupid, Death, and the Beyond
1523:Salsbury, Britany. (2000),
421:Portrait of Gertrud Klinger
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1684:, Leipzig, Reusche, 46 pp.
1446:Delevoy, Robert L. (1978)
775:Rettungen Ovidischer Opper
306:. After buying a villa in
18:
1876:German Symbolist painters
37:
16:German artist (1857–1920)
1448:Symbolists and Symbolism
1058:Landscape on the Unstrut
902:), Opus XIII, nos. 1-12.
468:(1887) was dedicated to
452:Johannes Brahms Monument
1811:2020 German documentary
1660:Encyclopedia Britannica
1417:Sisifus (The Faculties)
968:Portrait of a Gentleman
945:is named in his honor.
907:In contemporary culture
896:Vom Tode, Zweiter Theil
891:), Opus XII, nos. 1-41.
858:) Opus VIII, nos. 1-15.
825:), Opus VI, nos. 1-10.
636:on the wall behind it.
560:Richard Wagner Memorial
436:Portrait of Max Klinger
352:Documentary photographs
302:In 1906 he founded the
874:Vom Tode, Erster Theil
847:), Opus IX, nos. 1-10.
836:), Opus VII, nos. 1-4.
814:), Opus IV, nos. 1-12.
792:), Opus III, nos. 1-6.
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1901:German male sculptors
1682:Malerei und Zeichnung
1680:Klinger, Max (1891),
1360:Back into Nothingness
1013:The Judgment of Paris
880:) Opus XI, nos. 1-10.
869:), Opus X, nos. 1-10.
781:) Opus II, nos. 1-13.
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189:Karl (or Carl) Gussow
100:, painting, sculpture
1866:German male painters
1846:Artists from Leipzig
1593:on 10 September 2011
1471:Cassou, Jean (1979)
770:), Opus I, nos. 1-8.
508:Painting and Drawing
175:Klinger was born in
1881:Symbolist sculptors
1788:www.max-klinger.com
786:Eva und die Zukunft
292:Vier ernste Gesänge
1400:, from the series
1381:, from the series
1340:, from the series
1321:, from the series
1286:Eve and the Future
1284:, from the series
1267:Eva and the Future
1265:, from the series
1246:, from the series
1189:, from the series
900:On Death, Part Two
878:On Death, Part One
790:Eva and the Future
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722:, Richard MĂĽller,
672:Giorgio de Chirico
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512:Giorgio de Chirico
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304:Villa Romana Prize
297:Four Serious Songs
259:
1586:978-1-904832-77-5
1559:978-3-89904-270-2
1497:www.metmuseum.org
1043:Christ in Olympus
830:Vier Landschaften
346:Johannes Hartmann
181:Kingdom of Saxony
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885:Brahmsphantasie
834:Four Landscapes
797:Amor und Psyche
768:Etched Sketches
724:Oskar Kokoschka
692:Franz von Stuck
653:Gesamtkunstwerk
554:as well as the
540:Gesamtkunstwerk
525:Gesamtkunstwerk
475:In the series,
458:intaglio prints
446:
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283:Johannes Brahms
193:Christian Krohg
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21:Maxwell Klinger
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1777:External links
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1764:Verlag. 1995.
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1152:(1902), bronze
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213:Arnold Böcklin
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1760:: Benedikit
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1676:
1664:. Retrieved
1659:
1650:
1638:
1623:
1595:. Retrieved
1591:the original
1575:
1534:
1531:
1526:
1500:. Retrieved
1496:
1487:
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1401:
1397:
1382:
1378:
1363:
1359:
1346:Jack Daulton
1341:
1337:
1322:
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1290:Jack Daulton
1285:
1282:Third Future
1281:
1266:
1263:First Future
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756:
755:
749:
745:
741:
728:Max Beckmann
712:Alfred Kubin
708:Otto Greiner
700:Edvard Munch
680:metaphysical
669:
661:Gustav Klimt
657:installation
641:
638:Gustav Klimt
633:
629:
615:
609:
605:
595:
591:
571:
564:
535:
532:opus numbers
529:
507:
505:
500:Semioticians
491:Krafft-Ebing
476:
474:
465:
461:
455:
435:
420:
351:
350:
332:
320:Max Beckmann
312:Gustav Klimt
301:
296:
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267:
260:
252:Portrait of
251:
241:
174:
162:
142:
141:
106:Notable work
77:(1920-07-05)
25:
1841:1920 deaths
1836:1857 births
1502:15 December
1102: 1900
894:1898-1910.
746:Dead Mother
716:Max Slevogt
640:'s seminal
612:on the wall
483:leitmotivic
370: 1900
328:Georg Kolbe
159:Art Nouveau
143:Max Klinger
134:Art Nouveau
113:, Beethoven
98:Printmaking
75:5 July 1920
32:Max Klinger
1830:Categories
1666:12 October
1425:References
1319:Temptation
1244:Intermezzo
1191:Intermezzi
1066:Sculptures
998:A Legation
917:naturalist
863:Eine Liebe
812:Intermezzi
808:Intermezzi
688:surrealist
686:and other
517:naturalism
201:Émile Zola
197:naturalist
155:Jugendstil
130:Jugendstil
53:1857-02-18
1802:. (NYARC)
1493:"Galatea"
1398:Evocation
1225:Abduction
1206:Anxieties
1131:Beethoven
1080:The Drama
954:Paintings
921:Dämmerung
852:Ein Leben
720:Paul Klee
684:Max Ernst
676:symbolist
630:Beethoven
606:Beethoven
572:Beethoven
568:alabaster
544:Beethoven
279:Max Reger
268:Beethoven
222:Rembrandt
185:Karlsruhe
147:symbolism
122:Symbolism
1338:Downfall
940:Asteroid
750:Vom Tode
584:Pyrenees
562:(1911).
342:Naumburg
308:Florence
118:Movement
83:Naumburg
1762:Taschen
1597:16 June
1165:Galatea
1116:Athlete
949:Gallery
558:of the
521:realism
338:Leipzig
209:realism
177:Leipzig
87:Germany
61:Leipzig
1817:
1768:
1630:
1583:
1557:
1479:
1454:
1419:(1914)
1383:A Love
1364:A Life
1342:A Life
1323:A Life
1248:A Love
883:1894.
872:1889.
867:A Love
861:1887.
856:A Life
850:1884.
845:Dramas
841:Dramen
839:1883.
828:1883.
817:1881.
806:1881.
795:1880,
784:1880.
773:1879.
762:1879.
576:Vienna
556:plinth
550:, and
548:Brahms
495:fetish
466:A Love
462:A Life
272:Les XX
236:, and
234:Menzel
153:, and
149:, the
919:play
588:Syros
552:Liszt
487:Freud
230:Runge
218:DĂĽrer
1815:IMDb
1766:ISBN
1758:Köln
1668:2020
1628:ISBN
1599:2011
1581:ISBN
1555:ISBN
1504:2020
1477:ISBN
1452:ISBN
580:Laas
489:and
326:and
238:Rops
226:Goya
203:and
171:Life
72:Died
47:Born
1813:at
915:'s
911:In
493:on
444:Art
1832::
1689:^
1658:.
1607:^
1565:^
1542:^
1532:In
1529:.”
1512:^
1495:.
1462:^
1433:^
1135:c.
1099:c.
1097:,
730:,
726:,
718:,
714:,
710:,
706:,
702:,
698:,
694:,
546:,
367:c.
330:.
322:,
318:,
232:,
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224:,
220:,
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1772:.
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51:(
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
