Tent and other cycles 13.2.– 10.5.20 Max Klinger, who was regarded employed – mark the starting by his contemporaries as the point of the exhibition. “German Michelangelo“, was Following on from famous not only for his sculptures this are two rooms, in which and paintings but also – indeed, the multi-facetted nature of above all – for his graphic art- Klinger’s cycles is explained. works. His innovations in this The next room illustrates the field were compared with none work processes involved in the other than Albrecht Dürer. actual making of the pictures. On the occasion of the Here, it is possible for the 100th anniversary of his death viewer to ‘look over the artist’s the Staatliche Graphische shoulder’ and see how he Sammlung Munich is remembe- re-worked a figure, enhanced ring the graphic print artist, graphical effects or changed who produced several of his a format. important cycles in Munich and The final highlight of collaborated closely with a the exhibition is reached with Munich publishing house. the cycle “Tent“. It marks the Klinger’s sensationally culmination of Klinger’s work innovative style of narrative in as an artist and the sum total of the form of cycles is presented his skills both in narrative art in this exhibition on the basis and in the creation of fantastic of selected examples. And, the imagery. Staatliche Graphische Sammlung Instead of a catalogue, Munich is including, for the first this accompanying booklet time, his final, rarely exhibited to the exhibition provides cycle “Tent, Opus XIV“, 1915–17. information on the individual Klinger’s life, his work showcases, rooms and the in Munich and a presentation respective exhibits. of how the Munich collection is composed and structured – together with a characterisation of the graphic art techniques it SHOWCASE 1 SHOWCASE 2 1891 Publication of his article “Painting 1905 Commissioned by the Association Biography and Drawing“ on art theory on the of Artists in Florence to establish for young occasion of Klinger‘s first retrospective scholarship holders a house (Villa Romana) Portrait of Max Klinger 1857 born on 18th February in Leipzig. solo exhibition in the art shop “Koch’sche headed by him. Photographic Society in Berlin, Kunsthandlung“ of Ulrich Putze (Brienner based on a photograph by 1874 Begins his training at in Karlsruhe Straße 8) in Munich. 1910 Completion of the cycle of etchings Nicola Perscheid (1864–1930) Art School under Karl Gussow (1843–1907). entitled “On Death, Part Two“ (Opus XIII), Photogravure 1893 Moves to Leipzig; becomes which appears for the first time with 1875 Klinger follows Gussow to the member of the Munich Secession. less folio 1889; Awarded the Order of Royal Academy of Fine Arts in Berlin after Maximilian in Munich. Gussow‘s appointment there. 1894 „Brahms‘ Phantasies“ (Opus XII) with the songs of the composer is 1915 Publication of the cycle of etchings 1879 Published in Brussels his first cycle published in Berlin. entitled “Tent“ (Opus XIV); this is the of etchings “Etched Sketches“ (Opus I). date given in the imprint. However, the 1896 Commissioned to create murals individual portfolios appeared later in 1916. 1880–81 Resides in Munich, where for the Town Council of Leipzig and the there are published his cycles of etchings University there. 1919 Klinger suffers a stroke, from “Eve and the Future“ (1880, Opus III), which he never fully recovers. He marries “Intermezzi“ (1881, Opus IV) and “A 1897 Appointed Professor of the Royal his model Gertrud Bock (1893–1932) and Glove“ (1881, Opus VI). Academy of Graphic Art in Leipzig; appoints her as his sole heir. Membership of the Viennese Secession. 1883 Commissioned to produce fourteen 1920 He dies on 4th July in in his murals for the Villa Albers in Steglitz near 1898 First encounter with Elsa Asenijeff house in Großjena near Naumburg. Berlin. Exhibition of his cycle of etchings (1867–1941), who was to become entitled “Dramas“ (Opus IX) in Munich, Klinger‘s partner of many years. Paris and Berlin. 1 — Otto Greiner (1869–1916) 1900 Birth of their daughter Désirée. Portrait of Max Klinger 1883–1886 Moves to Paris Lithography 1884–1889 Cycles of his etchings “A Life“ 1902 Completion of Klinger‘s sculpture Inv.-No: 1957:129 D (1884, Opus VIII) and “A Love“ (1887, of Beethoven, depicted seated, and first Opus X) will be published in Berlin and “On presentation in Viennese Secession. 2 — Emil Orlik ( 1870–1932 ) Death, Part One“ (1889, Opus XI) in Rome. Portait of Max Klinger, undated Self Portrait with Cigar (detail), 1909 Appointed Vice-President of the Etching (line block and chisel) Aquatint 1903 236 × 142 mm (Plate) 1888–1893 Spends longer periods of Association of German Artists. Inv.-No. 1957:750 D 318 × 210 mm (Sheet) Inv.-Nr. 1957:437 D residence in Italy. SHOWCASE 1 / 2 SHOWCASE 2 SHOWCASE 3 in the shadow of Klinger, who was both a SHOWCASE 4 Attendance figures on the number of The Reception of the close friend and sponsor. Greiner clearly Max Klinger in Munich visitors to the Staatliche Graphische graphic works of Klinger suffered from constant comparison with Sammlung in Munich testify to a parti- In June 1880, Klinger moved to Munich the famous master, whose use of imagery cularly strong interest shown in Klinger‘s The graphic works of Klinger impressed for half a year, as he chose Theodor occupied him intensively. Nevertheless he works. In the year 1906, for example, and shaped his contemporaries. Through Ströfer (1843–1927), who lived in dedicated several of his works to Klinger – there were far more visitors attracted to the international activity of the artist Schwanthalerstrasse, as his publisher. such as his only cycle of graphic works Klinger‘s works (802) than there were to his works were widely known and had During this extraordinarily productive “On Woman“. those of Dürer (383) or Rembrandt (320). been exhibited throughout the whole of period Klinger created three cycles: Europe. In 1880, the cycles of the those “Eve and the Future“, “Intermezzi“ 1 — Title page to: works that had been completed at that and “A Glove“. Klinger lived in the Eve and the Future, Opus III, 1880 point were taken from the collection of street Schwanthalerstraße 10a, in Lithography and etching the the Norwegian painter Christian Krohg immediate proximity to colleagues like Inv.-No. L 230 (1852–1925), a one-time fellow student of Gabriel von Max. However, after his On loan from the Federal Republic of Germany Klinger, and presented in a show in Oslo. sojourn in the mundane spa resort of Title page to: This enabled his scholar Edward Munch Karlsbad he initially found Munich – by 2 — A Glove, Opus VI, 1881 (1863–1944) to study them in detail and comparison –“terribly village-like“ . Book print and etching to orientate himself in numerous compo- In 1891, Klinger‘s most major sitions on Klinger‘s generation of images. exhibition to date at that time took place Inv.-No. 1957:188 D Alfred Kubin (1877–1959) had acquainted in Munich. Yet his wish of exhibiting his himself with Klinger‘s prints during his art controversial painting „The Crucifixion studies in Munich and explored intensively of Christ“(completed in 1890) in the his works in the Staatliche Graphische Art Association (Kunstverein) was not Sammlung there. He was impressed by fulfilled. Nevertheless, this work, together Otto Greiner (1869–1916) both the artist‘s use of monumental figures with further paintings, watercolours and The Creation of Mankind and by his rendering of the psycholo- completed cycles went on show in the (dedicated to Max Klinger) gical state of his subjects. Käthe Kollwitz art house „Koch‘sche Kunsthandlung“ Title of the cycle : (1867–1945) deeply admired Klinger‘s of Ulrich Putze (Brienner Straße 8) and On Woman, 1898 etchings. Equally, such diverse artists as were well received in the city. In the Pen lithograph, green-grey print Max Beckmann (1884–1950) and Max same year, he was given three rooms to on chine collé Ernst (1891–1976) were in awe of Klinger‘s display his works at the annual exhibition art in their younger years of creativity. Max Inv.-No. 1957:465 D of the Munich Cooperative of Artists in Ernst once said in retrospect that Klinger‘s the Glaspalast and was elected honorary “nightmarish themes“ had been precisely member the Royal Academy of the Fine what was decisive for his collages. Arts in Munich. In 1910, he was granted The twelve years younger Leipzig artist the most prestigious award of all: the Otto Greiner (1869–1916) stood all his life Order of Maximilian for Science and Art. SHOWCASE 3 SHOWCASE 4 SHOWCASE 5 at Dittrichring 22. By then, Carl Beyer SHOWCASE 6 Klinger‘s graphic works, paintings and The Art Dealers P. H. Beyer had come to be regarded as an acknow- Carl Otto Beyer and sculptures was held by the art dealer & Sohn in Leipzig ledged expert on the subject of contem- Max Klinger 1 firm Beyer und Sohn immediately after porary German art and been successful the artist had died in 1920. Another Following his training in the book trade In his memoirs Carl Beyer describes his in securing a monopoly on the sale of show was held in 1930 to mark the and subsequent activity in art dealing in enthusiasm for art and his decision to Klinger‘s graphic works. He commanded 10th anniversary of Klinger‘s death. Munich and Dresden, Carl Otto Beyer change over his activities to trading in art. not only a wide network in Germany, (1870–1948) returned to his birthplace, In 1893, he started working as an assistant which he had built up over the years; 1 — Auction catalogue, November 1913 the city of Leipzig.