Archives, The Artist Birthday Series

Max Klinger

Max Klinger:  painter, sculptor

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 the beautiful and inspirational city of Karlsruhe, Germany. 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. From 1883–1893 he lived in Rome, and became increasingly influenced by the Italian Renaissance and antiquity.

"The Judgement of Paris," 1886-87
“The Judgement of Paris,” 1886-87

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 finding 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 the research of Freud and Krafft-Ebing on fetish objects. (see slideshow below for all ten plates)


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. Semioticians 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 striking resemblance to the young Klinger).

"Bust of Elsa Asenijeff," c. 1900
“Bust of Elsa Asenijeff,” c. 1900
Klinger’s model, Elsa Asenijeff, c. 1897

Klinger traveled extensively around the art centers 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.

“Statue of Beethoven,” 1902

Klinger was cited by many artists (notably Giorgio de Chirico) as being a major link between the symbolist 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.

Elsa Asenijeff, 1896
“The Great Goddess,” 1916
“Adam, Opus III”
“Amor, Tod, und Jenseits (Love, Death, and Beyond)”

In Elsa Bernstein’s naturalist play Dämmerung, Klinger is mentioned in the third act when Carl talks of being able to afford “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.

From “Klinger’s Boxes,” this is “Cold Reduction” 1991

Edited from:


Max Klinger

 


Digital collage portrait by TMLipp
Created for The Artist Birthday Series,
February 18, 2017

(click image for full resolution)

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Special thanks to: Daily Artfixx, On This Day, WikipediaFind-A-Grave, A&E Bio, The Smithsonian American Art Museum Renwick Gallery, Famous Birthdays, Encyclopedia Brittanica, and all the art history buffs that keep the internet full of wonderful information and images. 


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