Works
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 leitmotivic device of a glove—belonging to a woman whose face we never see—Klinger anticipated the research of Freud and Krafft-Ebing on fetish 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 fulfil. 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).
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. Asteroid 22369 Klinger is named in his honor.†
Read more about this topic: Max Klinger
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“His character as one of the fathers of the English language would alone make his works important, even those which have little poetical merit. He was as simple as Wordsworth in preferring his homely but vigorous Saxon tongue, when it was neglected by the court, and had not yet attained to the dignity of a literature, and rendered a similar service to his country to that which Dante rendered to Italy.”
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