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    Graphic Works of Max Klinger
    Graphic Works of Max Klinger
    Graphic Works of Max Klinger
    Ebook179 pages1 hour

    Graphic Works of Max Klinger

    By Max Klinger

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    About this ebook

    These 74 plates reproduce four of Klinger's complete cycles: Eve and the Future; A Glove; A Love; and On Death, Part I; plus many other illustrations. Reproduced directly from original portfolio editions, the etchings foreshadow the Surrealist movement with fantasies about love and death, sexual psychoses, fetish obsessions, and bizarre nightmares.
    LanguageEnglish
    PublisherDover Publications
    Release dateJul 31, 2012
    ISBN9780486156750
    Graphic Works of Max Klinger

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      Book preview

      Graphic Works of Max Klinger - Max Klinger

      DOVER BOOKS ON ART, ART HISTORY

      THE ART OF BOTANICAL ILLUSTRATION: AN ILLUSTRATED HISTORY, Wilfrid Blunt. (Available in U.S. only.) (0-486-27265-6)

      CHRISTIAN AND ORIENTAL PHILOSOPHY OF ART, Ananda K. Coomaraswamy. (0-486-20378-6)

      MODERN MEXICAN PAINTERS, MacKinley Helm. (0-486-26028-3)

      MODERN ARTISTS ON ART, 2ND ENLARGED EDITION, Robert L. Herbert (ed.). (0-486-41191-5)

      A HISTORY OF ENGRAVING AND ETCHING, Arthur M. Hind. (0-486-20954- 7)

      ART AND GEOMETRY, William M. Ivins. (0-486-20941-5)

      CONCERNING THE SPIRITUAL IN ART, Wassily Kandinsky. (0-486-23411-8)

      POINT AND LINE TO PLANE, Wassily Kandinsky. (0-486-23808-3)

      LANGUAGE OF VISION, Gyorgy Kepes. (0-486-28650-9)

      THE ART-MAKERS, Russell Lynes. (0-486-24239-0) ,

      PAINTERS OF THE ASHCAN SCHOOL, Bennard B. Perlman. (0-486-25747-9)

      PERSPECTIVE IN ARCHITECTURE AND PAINTING: AN UNABRIDGED REPRINT OF THE ENGLISH-AND-LATIN EDITION OF THE 1693 PERSPECTIVA PICTORUM ET ARCHITECTORUM, Andrea Pozzo. (0-486-25855-6)

      PAINTERS ON PAINTING, Eric Protter. (0-486-29941-4)

      THE ILLUSTRATOR AND THE BOOK IN ENGLAND FROM 1790 TO 1914, Gordon N. Ray. (0-486-26955-8)

      RODIN ON ART AND ARTISTS, Auguste Rodin. (0-486-24487-3)

      THE SEARCH FOR FORM IN ART AND ARCHITECTURE, Eliel Saarinen. (0-486-24907-7)

      THE SENSE OF BEAUTY, George Santayana. (0-486-20238-0)

      PICASSO, Gertrude Stein. (0-486-24715-5)

      VAN GOGH ON ART AND ARTISTS: LETTERS TO EMILE BERNARD, Vincent van Gogh. (0-486-42727-7)

      RECOLLECTIONS OF A PICTURE DEALER, Ambroise Vollard. (0-486-42852-4)

      THE GENTLE ART OF MAKING ENEMIES, James A. McN. Whistler. (0-486-21875-9)

      PRINCIPLES OF ART HISTORY, Heinrich Wölfflin. (0-486-20276-3)

      Paperbound unless otherwise indicated. Available at your book dealer, online at www.doverpublications.com, or by writing to Dept. 23, Dover Publications, Inc., 31 East 2nd Street, Mineola, NY 11501. For current price information or for free catalogs (please indicate field of interest), write to Dover Publications or log on to www.doverpublications.com and see every Dover book in print. Each year Dover publishes over 500 books on fine art, music, crafts and needlework, antiques, languages, literature, children’s books, chess, cookery, nature, anthropology, science, mathematics, and other areas.

      Manufactured in the U.S.A.

      The Artist in the Garret

      Copyright © 1977 by Dorothea Carus.

      All rights reserved under Pan American and International Copyright Conventions.

      Graphic Works of Max Klinger is a new work, first published by Dover Publications, Inc., in 1977.

      9780486156750

      Library of Congress Catalog Card Number: 76-263 80

      Manufactured in the United States of America

      Dover Publications, Inc.

      31 East 2nd Street, Mineola, N.Y 11501

      Table of Contents

      DOVER BOOKS ON ART, ART HISTORY

      Title Page

      Copyright Page

      Foreword

      Introduction

      Notes on the Plates and Summaries of the Cycles

      Technical Note

      Bibliography

      DOVER BOOKS ON ART INSTRUCTION

      Foreword

      by Dorothea Carus

      Following the Max Klinger exhibition of 1970 in Leipzig, the first major presentation of the artist’s work since the 1920s, the 1971 exhibition of Max Klinger’s graphic oeuvre arranged by Jan van Adlmann for the Wichita Museum was a noteworthy project. For the first time in over sixty years, Klinger’s work was given a comprehensive exhibition in America. This show and the subsequent ones at Berkeley and Cambridge opened up new perspectives relative to Klinger’s art. Attention now focused on Klinger’s modernity, his inventive iconography and staggering technical prowess. Also, the awareness of the impact Klinger’s imagery had on such major artists of the twentieth century as Munch, De Chirico, Dali, Ernst and Kollwitz led to a reevaluation of the artist’s place in the history of modern art. And when there followed, in 1974, an exhibition in New York of the etchings and drawings of Klinger’s most famous series, the Glove cycle of 1878/81, requests mounted for an interpretation of the artist’s graphics, as well as information on his life and work. It was then, in direct response to these demands and inquiries, that this book was conceived. It is the first publication on Klinger’s graphics in English and the first publication in any language to attempt a modern evaluation and interpretation of the complex phenomenon that Klinger’s graphic art presents.

      All the art has been photographed directly from original impressions in the Carus Gallery, New York, the only exceptions being the first two plates and the reference figures in the Introduction.

      Klinger was the modern artist par excellence. Modern not in the sense that is currently given to the word, but in the sense of a man of awareness who feels the heritage of centuries of art and thought, who sees clearly into the past, into the present and into himself.

      GIORGIO DE CHIRICO, 1920

      Introduction

      by J. Kirk T. Varnedoe, with Elizabeth Streicher

      In April of 1878, the Art Union in Berlin showed a suite of ten ink drawings, entitled collectively A Glove, by the 21-year-old artist Max Klinger (see Plates 18–27 and Figs. 1 and 2). With that exhibition, and with the work he showed later in the same year at the Annual Art Exhibition, Klinger leapt into critical prominence. The merits and meanings of his debut works were disputed, but even those who were displeased acknowledged that there was something unmistakably original and compelling about this artist’s vision, already in full force despite his youth. Klinger had begun at the Art School in Karlsruhe only four years before, at 17, and had followed his first teacher, Karl von Gussow, to the Berlin Academy in 1875. This rapid rise to fame was, moreover, to be only the beginning of a long and immensely successful career. Klinger’s reputation and influence eventually extended well beyond Germany’s borders, and he came to be hailed as a modern Renaissance genius for his work in painting, sculpture and graphics.

      In his diverse and prolific production, however, Klinger’s initial love and the source of his 1878 success, graphic work, remained a special, independent mode of expression for him. Beginning with etched editions of drawings conceived in the 1870s, including A Glove, Klinger went on to produce a body of prints (14 major cycles, comprising 265 plates) ¹ that is as ambitious and complex as his work in other media, and that, indeed, has proved to be of more enduring import and appeal. Looking, for example, at A Glove (of which the first etched edition appeared in 1881), one finds that its impact has not simply endured, but become more forceful still; these images seem not only original, but uncannily modern. By contrast, Klinger’s giant allegorical paintings and elaborately polychromed sculptures now evoke a more distant, historical interest—a situation perhaps explicable

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