MAX See also:

• KLINGER, FRIEDRICH MAXIMILIAN VON (1752–1831)
• MAX KLINGER (1857– )

KLINGER (1857– )  , See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German painter, etcher and sculptor, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Plagwitz near See also:

• LEIPZIG

Leipzig . He attended the classes at the Carlsruhe See also:

• ART

art school in 1874, and went in the following See also:

• YEAR

year to See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin, where in 1878 he created a sensation at the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy See also:

• EXHIBITION

exhibition with two See also:

• SERIES (a Latin word from serere, to join)

series of See also:

• PEN (Lat. penna, a feather, pen)

pen-and-See also:

• INK (from Late Lat. encaustum, Gr. gysavorov, the purple ink used by Greek and Roman emperors, from iyKaiew, to burn in)

ink drawings—the " Series upon the Theme of See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ " and " Fantasies upon the Finding of a See also:

• GLOVE (O. Eng. glof, perhaps connected with Gothic lofa, the palm of the hand)

Glove." The daring originality of these imaginative and See also:

• ECCENTRIC (from Gr. F,c, out of, and Kivrpov, centre)

eccentric See also:

• WORKS

works caused an outburst of indignation, and the artist was voted insane; nevertheless the " Glove " series was bought by the Berlin See also:

• NATIONAL

National See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery . His See also:

• PAINTING

painting of " The See also:

• JUDGMENT

Judgment of See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris " caused a similar See also:

• STORM (in O. Eng..storm, and so in Du. and Low Ger.; in O. H. Ger. and mod. Ger. Sturm; the root is probably that seen in " stir," to rouse, move, disturb, cf. Ger. storen)
• STORM, THEODOR WOLDSEN (1817-1888)

storm of indignant protest in 1887, owing to its rejection of all conventional attributes and the naive directness of the conception . His vivid and somewhat morbid See also:

• IMAGINATION

imagination, with its leaning towards the gruesome and disagreeable, and the Goyaesque turn of his mind, found their best expression in his "cycles" of etchings: "Deliverances of Sacrificial Victims told in See also:

• OVID [PUBLIUS OvID1us NASO] (43 B.C.–A.D. 17)

Ovid," " A See also:

• BRAHMS, JOHANNES (1833–1897)

Brahms Phantasy," " See also:

• EVE

Eve and the Future," "A See also:

• LIFE

Life," and "Of See also:

• DEATH

Death"; but in his use of the See also:

• NEEDLE (O. Eng. ncedl; the word appears in various forms in Teutonic languages, Ger. Nadel, Dutch naal, the root being ne-, to sew, cf. Ger. nahen, and probably Lat. nere, to spin, Gr. vi)ats, spinning)

needle he does not aim at the technical excellence of the See also:

• GREAT

great masters; it supplies him merely with means of expressing his ideas . After 1886 See also:

• KLINGER, FRIEDRICH MAXIMILIAN VON (1752–1831)
• KLINGER, MAX (1857– )

Klinger devoted himself more exclusively to painting and See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

sculpture . In his painting he aims neither at classic beauty nor See also:

• MODERN

modern truth, but at grim impressiveness not without a See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch of See also:

• MYSTICISM (from Or. µuety, to shut the eyes; µuorrts, one initiated into the mysteries)

mysticism . His " Pietk" at the See also:

• DRESDEN

Dresden Gallery, the frescoes at the Leipzig University, and the " Christ in See also:

• OLYMPUS

Olympus," at the Modern Gallery in See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, are characteristic examples of his art . The Leipzig Museum contains his sculptured "See also:

• SALOME

Salome" and " See also:

• CASSANDRA

Cassandra." In sculpture he favours the use of varicoloured materials in the manner of the See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek See also:

• CHRYSELEPHANTINE (Gr. xpvouOr, gold, and XEgas, ivory)

chryselephantine sculpture . His "See also:

• BEETHOVEN, LUDWIG VAN (1770-1827)

Beethoven" is a notable instance of his See also:

• WORK

work in this direction .