MAX KLINGER - A GLOVE 1881 a sequence of etchings

 

An Analysis of Sequence, Klinger's The History of a Glove.
 
Here the sequence is a sequence of prints by the Austrian Symbolist artist, Max Klinger, where the transitions from one print to another are mysterious but there are neverthless several motifs that return to help you construct a story.

Max Klinger, A Glove (Ein Handschuh) , 10 etchings, portfolio published 1881-1898 also known as "Paraphrase on the Finding of a Glove." Printed 1881 the images were composed much earlier (see Varnedoe, p.79).

 

And exhibition catalogue, Paradis Perdus, L'Europe Symboliste, Musee de Beaux Arts, Montreal, 1995, published by Flammarion, pp.342 - 3.
 
TOP ROW

• Place (11x13");
• Action (11x8";
• Yearnings (12x5");

 

SECOND ROW

• Rescue (9x7");
• Triumph (11x10")

THIRD ROW
• Image (6x12");
• Anxieties (5x10");

FOURTH ROW
• Repose (5x10");
• Abduction (4x10");

LAST
• Cupid (5x10")

used also in teaching

 

Dressed to Kill,
directed by Brian de Palma,
music by Pino Donaggio (1980),


The hunt in the art gallery.

Another glove is used to construct a sinous weaving tale, of a woman trying to pick up a man in the art gallery.

"Pick up turkey" reads her diary." Nuts" it says elsewhere..

The pictures on the wall reinforce possible readings, rather in the way that Hogarth constructs his sequences of prints. Above all this is hypnotic cinema - editing - imagery and sound.

See also Jon Jost's All the Vermeers in New York as an example of Labyrinth, stalking and pictures on walls.

 

see


Kirk T.Varnedoe, Graphic Works of Max Klinger, Dover NY 1977.