Max Klinger  

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 +'''Max Klinger''' ([[February 18]], [[1857]] - [[July 5]], [[1920]]) was a [[German art|German]] [[Symbolism (arts)|Symbolist]] [[painting|painter]], [[sculpture|sculptor]] and [[printmaking|printmaker]].
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 +Klinger was born in [[Leipzig]] and studied in [[Karlsruhe]]. An admirer of the etchings of [[Adolph von Menzel|Menzel]] and [[Francisco Goya|Goya]], he shortly became a skilled and imaginative engraver in his own right.
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 +His best known work is a series of ten etchings entitled ''[[Paraphrases about 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 [[leitmotif|leitmotic]] device of a [[glove]]—belonging to a woman whose face we never see—Klinger anticipated the research of [[Sigmund Freud|Freud]] and [[Richard Freiherr von Krafft-Ebing|Kraft-Ebbing]] on [[Sexual_fetishism|fetish]] objects.
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 +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 [[Ludwig van Beethoven|Beethoven]] was an integral part of the [[Vienna Secession]] exhibit of [[1902]].
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 +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 art|metaphysical]] and [[surrealism|Surrealist]] movements of the 20th century.
 +==List of works==
 +*[[Der pinkelnde Tod ]]
 +*''[[Adam (Max Klinger)|Adam]]'' (1880)
 +*''[[Dead Mother]]'' (1898)
 +*''[[Die blaue Stunde]]'' (1890)
 +==See also==
 +:''[[German Symbolism]]''
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Max Klinger (February 18, 1857 - July 5, 1920) was a German Symbolist painter, sculptor and printmaker.

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.

His best known work is a series of ten etchings entitled Paraphrases about 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 leitmotic device of a glove—belonging to a woman whose face we never see—Klinger anticipated the research of Freud and Kraft-Ebbing on fetish objects.

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 movement of the 19th century and the start of the metaphysical and Surrealist movements of the 20th century.

List of works

See also

German Symbolism




Unless indicated otherwise, the text in this article is either based on Wikipedia article "Max Klinger" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.

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