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...ringers stuck between fleshless lips to whistle an approaching train to its accident. Cliffs become gloomy torsos, a lobster floats in air. The images seem like snippets from a surrealist collage by Max Ernst. In fact, they filled the graphic work of a 19th century German academician named Max Klinger...

Author: /time Magazine | Title: Art: Etcher of the Id | 8/30/1971 | See Source »

Unheralded Prophet. Klinger died in 1920, after a career of prolonged and dull success. The paintings from which he earned a handsome living were promptly forgotten, and his strange etchings, too. But with the renewed scholarly interest in 19th century German art, and in the sources of that anonymous stuff called "modernism," it was natural that Klinger should be exhumed. This job, and more, has been done by an elegantly compact show of Klinger graphics assembled by Jan von Adlmann for the Wichita Art Museum, where it opened this month before traveling to Berkeley and Harvard...

Author: /time Magazine | Title: Art: Etcher of the Id | 8/30/1971 | See Source »

...treat Klinger simply as a prophet of Surrealism-which Von Adlmann sensibly does not do-would be to miss the peculiar value of his art. The Surrealists were able to build their Tower of Babel on the work of Freud. But as far as is known, Klinger had never heard of the Viennese doctor. Born in Leipzig in 1857, and brought up in the correct milieu of provincial German society, he MIherited no work plans for dealing with his own unconscious images. He simply laid them out, naked or veiled with classical mythology. At the same time, Klinger was aware...

Author: /time Magazine | Title: Art: Etcher of the Id | 8/30/1971 | See Source »

Class agents are, Currier: Karen Wilson of Bound Brook, New Jersey; North: Susan Klinger of Phoenix, Arizona; South: Elizabeth Coons of Lowell and Brookline...

Author: NO WRITER ATTRIBUTED | Title: Radcliffe Class Officers | 1/4/1971 | See Source »

Hitler's art collection is often plainly preposterous. Sharing the racks with Rubens are sexy sphinxes and snake-draped nude dancers of Max Klinger and Franz von Stuck, whose fancy for the Wagnerian concept of total art led them to stud their frames with marble, onyx and semiprecious lapidary and to incise their names in five-inch letters. Among nearly 2,000 lesser art works are monumental glorifications of the autobahns, tiers of titillating, bulky Brünnhildes in the buff, and pleasant vistas of Berchtesgaden. One canvas, called Judgment of Paris, shows three hefty maidens placidly awaiting...

Author: /time Magazine | Title: Collections: Out of the Cellar | 1/8/1965 | See Source »

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