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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 with symbolism, the Vienna Secession, and Jugendstil (Youth Style), the German manifestation of Art Nouveau. He is best known today for his many prints, particularly a series entitled Paraphrase on the Finding of a Glove and his monumental sculptural installation in homage to Beethoven at the Vienna Secession in 1902.Delevoy, Robert L. (1978) Symbolists and Symbolism. Skira/Rizzoli International Publications, Inc., New York, 247 pp. Cassou, Jean (1979) The Concise Encyclopedia of Symbolism. Chartwell Books, Inc., Secaucus, New Jersey, 292 pp
With a receptive audience developing in Paris, where the Franco-Uruguayan poet and art critic Jules Laforgue 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 Beethoven sculpture while in Paris but, it was not completed and fully realized until 1902. In 1889 Les XX (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.
Klinger was an accomplished pianist and counted the composer Max Reger among his friends.Nebehay, Christian M. (1992), Gustav Klimt: from Drawing to Painting. Harry N. Abrams, Inc., Publishers. 288 pp. see A friendship with the composer Johannes Brahms developed over a period of 20 years, culminating with Klinger's publication of his print series Brahms Fantasies (1894) and Brahms's dedication of Vier ernste Gesänge ( Four Serious Songs), Opus 121, to Klinger in 1896, a year before the composer's death.Musée d'Orsay. Max Klinger / Johannes Brahms: Engraving, Music and Fantasy
In 1906 he founded the Villa Romana Prize. After buying a villa in Florence, 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 Gustav Klimt, however Klimt waived his honor and passed it on to Maximilian Kurzweil. Later recipients included Käthe Kollwitz, Max Beckmann, Ernst Barlach and Georg Kolbe.
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 from Leipzig and bought a vineyard in Großjena Gross, near Naumburg, Germany, where he settled in his later years. In 1911 Klinger left Asenijeff, when her mental health begin to show signs of deteriorating, 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 sculptor Johannes 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.
Documentary photographs
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 the leitmotif device of a glove—belonging to a woman whose face we never see—Klinger anticipated the research of Sigmund Freud and Krafft-Ebing on Sexual fetishism 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. Semiotics 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 for Painting and Drawing,Klinger, Max (1891), Malerei und Zeichnung Painting, Leipzig, Reusche, p.46 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 Giorgio de Chirico who called Klinger the "modern artist par excellence".Mazzaferro, Francesco (2015), German Artists' Writings in the XX Century - Max Klinger, 'Painting and Drawing'. Part One: The Overall Context''. Art Literature (accessed 17 December 2020) 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 naturalism (realism) and neo-idealism, as well as form and content, were reconcilable, and both were possible. Concepts of the Gesamtkunstwerk, an all-embracing art form, with unity among the arts (e.g. painting, sculpture, literature, poetry, music, etc.), were also discussed.
Klinger had a lifelong passion for music and musical elements are often reflected and expressed in his art. His print cycles were given opus numbers, typically associated with musical publications. His series Brahms 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, creating Gesamtkunstwerk or "all-embracing art form". Klinger produced sculptures of Beethoven, Brahms, and Liszt as well as a bust of Richard Wagner and the plinth of the Richard Wagner Memorial (1911).Marie-Louise Monrad Møller: Wagner im Schatten – Die Geschichte des Richard Wagner-Denkmals in Leipzig. In: Leipziger Stadtgeschichte. Jahrbuch 2013. Sax-Verlag Beucha 2014, ISBN 978-3-86729-129-3, S. 111–162 The first six pages of the article (in German)
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 in Beethoven. He studied and took measurements of Beethoven's death mask in Vienna and traveled to Laas in southwestern France to personally select the alabaster, and the Pyrenees and Syra (or Syros), 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 book Max 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.
Beethoven was the theme of the 14th exhibition of the Vienna 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 by Alfred Roller, the artist of the Secession created works on the theme for the galleries and Roller and the architect Josef Hoffmann oversaw the overall installation. Klinger's Beethoven was installed in the central hall with Alfred Roller's mural Night Descending on the wall behind it. Gustav Klimt's seminal Beethoven Frieze was visible in an adjoining room. Even the normally shy and retiring Gustav 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 the Gesamtkunstwerk, comparative to a contemporary Installation art. The exhibition received extensive press, and generated a scandal. Most of the hostile and negative reviews were directed at Gustav 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.
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 movement. His work was also admired and a formative influence on later artist such as Max Ernst and other surrealist artist.Rubin, William S. (1968), Dada and Surrealist Art. Harry N. Abrams, Inc., Publishers, New York. 525 pp. The historian Holger Jacob-Friesen illustrates and discusses in detail the influence of Klinger's prints on artist such as Franz 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.
Print series published by Max Klinger
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.
Asteroid 22369 Klinger is named in his honor.
Sculptures
Drawings, prints and graphics
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