Klinger, who had received some training at the Karlsruhe art school, created a sensation at the Berlin Academy exhibition in 1878 with two series of pen-and-ink drawings—Series upon the Theme of Christ and Fantasies upon the Finding of a Glove. Their daring originality caused an outburst of indignation; nonetheless, the Glove series, on which Klinger’s contemporary reputation is based, was bought by the Berlin National Gallery. These 10 drawings (engraved in three editions from 1881) tell a strange parable of a hapless young man and his obsessive involvement with a woman’s elbow-length glove.
In 1887 The Judgment of Paris caused another storm of protest because of its rejection of all conventional attributes and its naively direct conception. In his painting Klinger aimed at neither classic beauty nor modern truth but at an impressive grimness with overtones of mysticism. His Pietà (1890) and Christ in Olympus (1896) are also characteristic examples of his work.
Klinger’s leanings toward the gruesome and grotesque found further expression in his series of etchings inspired by the work of Francisco de Goya, including Deliverances of Sacrificial Victims Told in Ovid (1879), Fantasy on Brahms (1894), Eve and the Future (1880), A Life (1884), and Of Death (part 1, 1889; part 2, 1898–1909). In his use of the etching needle he achieved a unique form of expressiveness.
Klinger’s late work was primarily sculpture. Interested in materials and color, he executed polychromed nudes possessing a distinctly eerie quality, as well as statues made of varicolored materials in the manner of Greek chryselephantine sculpture (e.g., Beethoven [1902], Salome [1893], and Cassandra [1895]). His last project, a colossal monument to the German composer Richard Wagner, remained unfinished at his death.
Bio credits: Britannica
