Editing Max Klinger (section)

== Life ==
Klinger was born in [[Leipzig]], [[Kingdom of Saxony]] to a wealthy and prominent family.<ref>{{Cite web|url=https://www.metmuseum.org/art/collection/search/769187|access-date=15 December 2020|website=www.metmuseum.org|title=Galatea}}</ref> He enrolled in the Academy of Fine Arts in [[Karlsruhe]] in 1874 where he was a pupil of [[Karl Gussow|Karl (or Carl) Gussow]]. When Gussow left Karlsruhe to become the Director of the Academy of Fine Arts in Berlin, Klinger moved to Berlin as well to complete his studies there. Klinger shared a studio with [[Christian Krohg]] and the two had a mutual admiration for French [[Naturalist literature|naturalist]] authors like [[Émile Zola]] and [[Gustave Flaubert]], who explored the shadowy aspects of urban life and the hypocrisy of society and the bourgeoisie in their novels.<ref name="Salsbury (2000)">Salsbury, Britany. (2000), [https://www.metmuseum.org/toah/hd/maxk/hd_maxk.htm “''The Graphic Art of Max Klinger''.”] '''In''' ''Heilbrunn Timeline of Art History''. New York: The Metropolitan Museum of Art. (accessed 8 December 2020).</ref> At that time [[Realism (art movement)|realism]] was the prevailing style in Germany and [[Arnold Böcklin]] was one of the few artist active there that Klinger felt a close affinity to. Klinger graduated from the Academy in 1877. He was drawn to and studied the etchings and prints of many masters that were more aligned with his sensibilities including [[Dürer]], [[Rembrandt]], [[Francisco Goya|Goya]], [[Philipp Otto Runge|Runge]], [[Adolph von Menzel|Menzel]], and [[Félicien Rops|Rops]].<ref name="Schrenk et al. (2007)">Schrenk, Klaus, Holger Jacob-Friesen, Anja Wenn, and Sonja Mißfeldt. (2007), Max Klinger: Die druckgraphischen Folgen. Edition Braus. Staatliche Kunsthalle Karlsruhe. Heidelberg, Germany. 184 pp. {{ISBN|978-3-89904-270-2}}</ref> He began an apprenticeship studying engraving under Hermann Sagert and soon became a skilled and imaginative engraver in his own right. Klinger visited Brussels for a time in 1879, and the following year he spent time in Munich. He was achieving some notoriety with his pen and ink drawings and prints when in 1881 he published two sets of etchings, including  ''Paraphrase on the Finding of a Glove'', which was an immediate success and established his reputation.<ref name="Delevoy (1978)" /><ref name="Cassou (1979)" /><ref name="SourceBMA">{{cite book|last1=Birmingham Museum of Art |title=Birmingham Museum of Art: Guide to the Collection |publisher=GILES |year=2010 |location=London, UK |pages=226 |url=http://www.birminghammuseumstore.org/gutoco.html |access-date=16 June 2011 |isbn=978-1-904832-77-5 |url-status=dead |archive-url=https://web.archive.org/web/20110910171202/http://www.birminghammuseumstore.org/gutoco.html |archive-date=10 September 2011 }}</ref>

[[File:Bildnis Elsa Asenijeff im Freien.jpg|thumb|left|110px|''Portrait of [[Elsa Asenijeff]]'' (1904), oil on canvas, {{cvt|100|x|50|cm|in}}, Museum der Bildenden Künste, Leipzig]]

With a receptive audience developing in Paris, where the Franco-Uruguayan poet and art critic [[Jules Laforgue]] had been celebrating and advocating his prints, Klinger moved to Paris in 1883 where he lived until 1886 or 1887.<ref name="Salsbury (2000)" /> Klinger first began sculpting about 1883, and sculpture slowly came to dominate his output in his later years. He conceived and started work on his ''Beethoven'' sculpture while in Paris but, it was not completed and fully realized until 1902.<ref name="Delevoy (1978)" /> In 1889 [[Les XX]] (The Twenty) invited Klinger to exhibit his work in their annual winter exhibition that year in Brussels.<ref name="Delevoy (1978)" />{{rp|106 p.}} He moved to Rome in 1889, staying until 1893, studying the Italian masters, where the 15th century artists and works from antiquity are said to have been something of a revelation to him. He also intensified his studies of anatomy, the nude, and the representation of mass and volume during this period of his life.<ref name="SourceBMA"/><ref name="Cassou (1979)" />{{rp|93 p.}} It was a productive time in his career. In the 1890s, Klinger continued his gradual shift away from printmaking in favor of sculpting.<ref name="Delevoy (1978)" />

Klinger was an accomplished pianist and counted the composer [[Max Reger]] among his friends.<ref name="Nebehay (1992)">Nebehay, Christian M. (1992), ''Gustav Klimt: from Drawing to Painting''. Harry N. Abrams, Inc., Publishers. 288 pp. [see pages 93-108] {{ISBN|0-8109-3510-4}}</ref>{{rp|96 p.}} A friendship with the composer [[Johannes Brahms]] developed over a period of 20 years, culminating with Klinger's publication of his print series ''Brahms Fantasies'' (1894) and Brahms's dedication of ''[[Vier ernste Gesänge]]'' (''Four Serious Songs''), Opus 121, to Klinger in 1896, a year before the composer's death.<ref>Musée d'Orsay. Max Klinger / [https://www.musee-orsay.fr/en/events/exhibitions/in-the-museums/exhibitions-in-the-musee-dorsay-more/article/max-klinger-johannes-brahms-engraving-music-and-fantasy-4485.html?S=&tx_ttnews%5BbackPid%5D=649&cHash=93d67499d9&print=1&no_cache=1& Johannes Brahms: Engraving, Music and Fantasy]</ref>

In 1906 he founded the [[Villa Romana Prize]]. After buying a villa in [[Florence]], complete with 15,000 square meter park, recipients of the prize were given the opportunity to stay for a few months and adsorbed the culture of the city. The first beneficiary of the prize was [[Gustav Klimt]], however Klimt waived his honor and passed it on to Maximilian Kurzweil. Later recipients included [[Käthe Kollwitz]], [[Max Beckmann]], [[Ernst Barlach]] and [[Georg Kolbe]].<ref name="Nebehay (1992)"/>

[[Elsa Asenijeff]] (1867-1941) was a writer and poet, as well as a model, muse, and girlfriend of Klinger for about 15 years. They had a daughter Desirée Klinger (1900–1973) but were never married. In 1903 he moved away from [[Leipzig]] and bought a vineyard in Großjena [Gross Jena,], near [[Naumburg]], Germany, where he settled in his later years. In 1911 Klinger left Asenijeff, when her mental health begin to show signs of deteriorating,<ref name="Nebehay (1992)"/> for an 18-year-old model, Gertrud Bock (1893–1932), who he ultimately married a few months before his death in 1920. Klinger left his estate to Gertrud. The sculptor [[:de:Johannes Hartmann (Bildhauer)|Johannes Hartmann]], a friend of Klinger's, served as caretaker of the Klinger estate and designed Klinger's tomb with portraits of Klinger and Gertrud. Johannes Hartmann married Gertrud Klinger in 1922, however, much of the remainder of their lives was spent in litigation with Klinger's daughter, Desirée Klinger over the estate.<ref name="Nebehay (1992)"/><ref>{{Cite web|date=1 July 2020|title=Max Klinger {{!}} German artist|url=https://www.britannica.com/biography/Max-Klinger|archive-url=|archive-date=|access-date=12 October 2020|website=Encyclopedia Britannica|publisher=Encyclopædia Britannica, inc.|language=en|type=}}</ref>

'''Documentary photographs'''
<gallery mode="packed" heights="150px">
File:Max Klinger Villa 1900.jpg|Villa Klinger in Leipzig, Germany, on the river Weisse Elster ({{Circa|1900}})
File:Max Klinger und Elsa Asanjieff, Villa Romana 1905.jpg|Max Klinger and Elsa Asanijeff in the garden of Villa Romana, Florence (1905) 
File:Unstruth 01.JPG|House on the vineyard of Max Klinger at Großjena, near Naumburg, Germany
File:MarmorhermenMaxundGertrudKlinger.JPG|Memorial with portraits at the tomb of Max Klinger and Gertrud Klinger by Johannes Hartmann, Großjena, Germany
File:JohannesHartmannGertrudKlinger.JPG|''Portrait of Gertrud Klinger'' (1921), marble, by Johannes Hartmann 
File:JohannesHartmannMaxKlinger.JPG|''Portrait of Max Klinger'' (1921), marble, by Johannes Hartmann 
</gallery>