Max Klinger | |
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| Born | (1857-02-18)18 February 1857 |
| Died | 5 July 1920(1920-07-05) (aged 63) |
| Known for | Printmaking, painting, sculpture |
| Notable work | Paraphrase über den Fund eines Handschuhs, Beethoven |
| Movement | Symbolism,Vienna Secession,Jugendstil,Art Nouveau. |
Max Klinger (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 withsymbolism, theVienna Secession, andJugendstil (Youth Style), the German manifestation ofArt Nouveau. He is best known today for his many prints, particularly a series entitledParaphrase on the Finding of a Glove and his monumental sculptural installation in homage to Beethoven at the Vienna Secession in 1902.[1][2]
Klinger was born inLeipzig,Kingdom of Saxony to a wealthy and prominent family.[3] He enrolled in the Academy of Fine Arts inKarlsruhe in 1874 where he was a pupil ofKarl (or Carl) Gussow. 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 withChristian Krohg and the two had a mutual admiration for Frenchnaturalist authors likeÉmile Zola andGustave Flaubert, who explored the shadowy aspects of urban life and the hypocrisy of society and the bourgeoisie in their novels.[4] At that timerealism was the prevailing style in Germany andArnold Böcklin 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 includingDürer,Rembrandt,Goya,Runge,Menzel, andRops.[5] 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, includingParaphrase on the Finding of a Glove, which was an immediate success and established his reputation.[1][2][6]
With a receptive audience developing in Paris, where the Franco-Uruguayan poet and art criticJules Laforgue had been celebrating and advocating his prints, Klinger moved to Paris in 1883 where he lived until 1886 or 1887.[4] Klinger first began sculpting about 1883, and sculpture slowly came to dominate his output in his later years. He conceived and started work on hisBeethoven sculpture while in Paris but, it was not completed and fully realized until 1902.[1] In 1889Les XX (The Twenty) invited Klinger to exhibit his work in their annual winter exhibition that year in Brussels.[1]: 106 p. 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.[6][2]: 93 p. It was a productive time in his career. In the 1890s, Klinger continued his gradual shift away from printmaking in favor of sculpting.[1]
Klinger was an accomplished pianist and counted the composerMax Reger among his friends.[7]: 96 p. A friendship with the composerJohannes Brahms developed over a period of 20 years, culminating with Klinger's publication of his print seriesBrahms Fantasies (1894) and Brahms's dedication ofVier ernste Gesänge (Four Serious Songs), Opus 121, to Klinger in 1896, a year before the composer's death.[8]
In 1906 he founded theVilla Romana Prize. After buying a villa inFlorence, 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 wasGustav Klimt, however Klimt waived his honor and passed it on to Maximilian Kurzweil. Later recipients includedKäthe Kollwitz,Max Beckmann,Ernst Barlach andGeorg Kolbe.[7]
Elsa Asenijeff (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 fromLeipzig and bought a vineyard in Großjena [Gross Jena,], nearNaumburg, Germany, where he settled in his later years. In 1911 Klinger left Asenijeff, when her mental health begin to show signs of deteriorating,[7] for an 18-year-old model, Gertrud Bock (1893–1932), who he ultimately married a few months before his death in 1920. Klinger left his estate to Gertrud. The sculptorJohannes Hartmann, a friend of Klinger's, served as caretaker of the Klinger estate and designed Klinger's tomb with portraits of Klinger and Gertrud. Johannes Hartmann married Gertrud Klinger in 1922, however, much of the remainder of their lives was spent in litigation with Klinger's daughter, Desirée Klinger over the estate.[7][9]
Documentary photographs
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A significant portion of Klinger’s reputation is associated with his many cycles and series ofintaglio prints, which influenced numerous printmakers and artist of the late 19th and early 20th centuries. Klinger would adeptly integrate several intaglio media like aquatint, drypoint, and etching in a single plate, producing remarkable formal and tonal qualities. The subjects range from esoteric symbolism to darker aspects of realism. In the cycleA Life (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 seriesA Love (1887) was dedicated toArnold Böcklin another symbolist artist Klinger greatly admired.[4][5]
In the series,Paraphrase on the Finding of a Glove (printed 1881), the pictures were based on images which came to Klinger in dreams after finding a glove at an ice-skating rink. In theleitmotivic device of a glove—belonging to a woman whose face we never see—Klinger anticipated the research ofFreud andKrafft-Ebing onfetish 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.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).
In Paris he started to draft his polemical text forPainting and Drawing,[10] 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, includingGiorgio de Chirico who called Klinger the "modern artist par excellence".[11] 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 betweennaturalism (realism) and neo-idealism, as well as form and content, were reconcilable, and both were possible. Concepts of theGesamtkunstwerk, an all-embracing art form, with unity among the arts (e.g. painting, sculpture, literature, poetry, music, etc.), were also discussed.[11]
Klinger had a lifelong passion for music and musical elements are often reflected and expressed in his art. His print cycles were givenopus numbers, typically associated with musical publications. His seriesBrahms Fantasies (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, creatingGesamtkunstwerk or "all-embracing art form". Klinger produced sculptures ofBeethoven,Brahms, andLiszt[4] as well as abust of Richard Wagner and theplinth of theRichard Wagner Memorial (1911).[12]
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,alabaster, and several different marbles were used inBeethoven. He studied and took measurements of Beethoven's death mask inVienna and traveled toLaas in southwestern France to personally select the alabaster, and thePyrenees and Syra (orSyros), Greece to select marbles. Elsa Asenijeff wrote of the unusually complex and difficult process involved with casting the large bronze throne from wax in her bookMax Klinges Beethoven: Eine kunst-technische Studie (Max Klinge's Beethoven: A Practical Artistic Study) 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.[7]
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Beethoven was the theme of the 14th exhibition of theVienna Secession 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 byAlfred Roller, the artist of the Secession created works on the theme for the galleries and Roller and the architectJosef Hoffmann oversaw the overall installation. Klinger'sBeethoven was installed in the central hall with Alfred Roller's muralNight Descending on the wall behind it.Gustav Klimt's seminalBeethoven Frieze was visible in an adjoining room. Even the normally shy and retiringGustav Mahler 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 theGesamtkunstwerk, comparative to a contemporaryinstallation. The exhibition received extensive press, and generated a scandal. Most of the hostile and negative reviews were directed atGustav Klimt 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.Auguste Rodin 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.[7][11]
Klinger was cited by many artists (notablyGiorgio de Chirico) as being a major link between thesymbolist movement of the 19th century and the start of themetaphysical movement. His work was also admired and a formative influence on later artist such asMax Ernst and othersurrealist artist.[13] The historian Holger Jacob-Friesen illustrates and discusses in detail the influence of Klinger's prints on artist such asFranz von Stuck,Käthe Kollwitz,Edvard Munch,Lovis Corinth,Otto Greiner,Alfred Kubin,Max Slevogt,Paul Klee, Richard Müller,Oskar Kokoschka,Max Beckmann,Horst Janssen, as well as De Chirico and Ernst.[5]
Print series published by Max Klinger[5]
InElsa Bernstein'snaturalist playDämmerung, 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 installationKlinger’s Boxes, on an idea inspired by Klinger'sParaphrase on the Finding of a Glove.
Asteroid22369 Klinger is named in his honor.[14]
Paintings
Sculptures
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Drawings, prints and graphics
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