Max Klinger

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Klinger, Max


Born Feb. 18, 1857, in Leipzig; died July 4, 1920, in Grossjena, in the present-day German Democratic Republic. German painter, graphic artist, and sculptor.

In the series of etchings A Life (1881–84), Dramas (1883), A Love (1887), and Of Death (1889, 1898–1910), Klinger combines vivid portrayals of real life and its acute social problems with fantasy and tragic pessimism. It is in his paintings, however, that elements of art nouveau, pretentious mystical symbolism, and naturalism are most evident (for example, Christ on Olympus, 1897, Austrian Gallery of the 19th and 20th Centuries, Vienna). Klinger sought to revive polychromatic sculpture (for example, Beethoven; marble, plaster of paris, and bronze; 1886–1902; Museum of Fine Arts, Leipzig).


Max Klinger. . . . Zum 100. Geburtstag. Leipzig, 1957.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
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The exhibit combines Rodin figures from the museum's permanent collection with objects on loan from the Mus`e Rodin in Paris and the Kunsthalle Bremen, while also including lithographs by the artists Max Klinger and Eug'e8ne Carri'e8re from the Print Gallery of the Berlin State Museum.
So many delicacies turn up--who knew that Alfred Brendel named each of the Diabelli Variations, cheerfully humanizing this august masterpiece with descriptions like "giggling and neighing" and "the rage of the jumping jack?" Or that Max Klinger created fantastical drawings in response to Brahms's songs, from which the composer himself drew inspiration?
The character of Max Klinger (Jamie Farr), who initially dresses as a woman in order to obtain a deferment and be sent home, challenged traditional perceptions of masculinity.
They've been trying to erect one in Leipzig pretty well since the composer's death, but for one reason or another--the death of the originally commissioned Max Klinger, the abandonment of a second project by Emil Hipp after the war in part because of Nazi support for it--none of the initiatives has come to fruition.
The subject of each work in tempera, acrylic, and ink replies to the series's question, with beasts recalling Max Klinger's chimeras or Odilon Redon's Symbolist imagination--a lounging Snail on Sofa or an Owl in Wardrobe.
Are the FA paying pounds 6million a year for international football's answer to Max Klinger?
Following exhibitions devoted to the late 19th century German artist Max Klinger and master of the Japanese woodcut, Hiroshige, in the last few years, it has now turned its attention to the late 18th century Northumbrian wood engraver, Thomas Bewick (1753- 1828).
Fine Art (exhibiting at Andrew Wyld); a pen and ink by Max Klinger, Susanna and the Elders, with C.G.
Of all the evidence that Van Rij marshals in support of Brahms's bouquets, perhaps the most fascinating is the comparison between these collections and the graphic cycles of Max Klinger. Like Brahms's bouquets, some of Klinger's cycles initially do not seem to form a unified whole because they often include images that are not clearly related to the established narrative.
From Max Klinger's drawings inspired by Brahms's Lieder to Wassily Kandinsky's painting "of" Schoenberg's compositions, we see how essential music was to the modernist drive toward abstraction, symbolism, and a kind of metaphysical disengagement with the material world.