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  • Max Klinger

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    Max Klinger (18 February 1857 – 5 July 1920) was a German symbolist painter, sculptor, printmaker, and writer. Klinger was born in Leipzig and studied in Karlsruhe. An admirer of the etchings of Menzel and Goya, he shortly became a skilled and imaginative engraver in his own right. He began creating sculptures in the early 1880s.[1] From 1883–1893 he lived in Rome, and became increasingly influenced by the Italian Renaissance and antiquity

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    Max Klinger (18 February 1857 – 5 July 1920) was a German symbolist painter, sculptor, printmaker, and writer. Klinger was born in Leipzig and studied in Karlsruhe. An admirer of the etchings of Menzel and Goya, he shortly became a skilled and imaginative engraver in his own right. He began creating sculptures in the early 1880s.[1] From 1883–1893 he lived in Rome, and became increasingly influenced by the Italian Renaissance and antiquity

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    49 vues1 page

    Max Klinger

    Transféré par

    moresubscriptions
    Max Klinger (18 February 1857 – 5 July 1920) was a German symbolist painter, sculptor, printmaker, and writer. Klinger was born in Leipzig and studied in Karlsruhe. An admirer of the etchings of Menzel and Goya, he shortly became a skilled and imaginative engraver in his own right. He began creating sculptures in the early 1880s.[1] From 1883–1893 he lived in Rome, and became increasingly influenced by the Italian Renaissance and antiquity

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    Max Klinger EN

    Introduction
    Works
    In contemporary culture
    Gallery
    Max Klinger
    Connected to: Leipzig Sculpture Italian Renaissance
    References
    Further reading
    From Wikipedia, the free encyclopedia
    External links
    This article needs additional citations for veri cation. Please help improve this article…

    Max Klinger (18 February 1857 – 5 July 1920) was a


    German symbolist painter, sculptor, printmaker, and
    writer.

    Klinger was born in Leipzig and studied in Karlsruhe.


    An admirer of the etchings of Menzel and Goya, he
    shortly became a skilled and imaginative engraver in
    his own right. He began creating sculptures in the early
    1880s.[1] From 1883–1893 he lived in Rome, and
    became increasingly in uenced by the Italian
    Renaissance and antiquity.[1]

    Works
    His best known work is a series of ten etchings entitled
    Paraphrase on the Finding of a Glove (printed 1881).
    These pictures were based on images which came to
    Klinger in dreams after nding a glove at an ice-skating
    rink. In the leitmotivic device of a glove—belonging to a
    woman whose face we never see—Klinger anticipated Portrait of Max Klinger by Emil Orlik, 1902

    the research of Freud and Kra t-Ebing on fetish


    objects. In this case, the glove becomes a symbol for
    the artist's romantic yearnings, nding itself, in each
    plate, in di erent dramatic situations, and performing
    the role that we might expect the gure of the beloved
    herself to ful l. Semioticians have also seen in the
    symbol of the glove an example of a sliding signi er, or
    signi er without signi ed—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 striking resemblance to the young Klinger).

    Klinger traveled extensively around the art centres of


    Europe for years before returning to Leipzig in 1893.
    From 1897 he mostly concentrated on sculpture; his
    marble statue of Beethoven was an integral part of the
    Vienna Secession exhibit of 1902.

    Klinger was cited by many artists (notably Giorgio de


    Chirico) as being a major link between the symbolist Elsa Asenije , ca. 1900.

    movement of the 19th century and the start of the


    metaphysical and Surrealist movements of the 20th century. Asteroid 22369 Klinger is named in his
    honor.[2]

    In contemporary culture
    In Elsa Bernstein's naturalist play Dämmerung, Klinger is mentioned in the third act when Carl talks
    of being able to a ord "etchings by Klinger" for 80 francs.

    Inspection Medical Hermeneutics, an infamous Moscow art collective, based their 1991 installation
    Klinger’s Boxes, on an idea inspired by Klinger’s Paraphrase on the Finding of a Glove.

    Gallery

    Kuss, (1887) Sisifus (The Faculties) Ängste 'Anxieties' (1893)


    (1914)

    References

    Further reading

    External links

    Wikimedia Commons has media related to Max Klinger.

    Wikisource has the text of a 1911 Encyclopædia Britannica article about Max
    Klinger.

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    This page is based on a Wikipedia article written by contributors (read/edit).


    Text is available under the CC BY-SA 4.0 license; additional terms may apply.
    Images, videos and audio are available under their respective licenses.
    Cover photo is available under Public domain license. Credit: Max Klinger (see original le).

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