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Max KlingerVenus in Muschelwagen - Etching by E. Einschlag after M. Klinger - 19071907
1907
$2,910.55
$4,157.9330% Off
£2,163.66
£3,090.9430% Off
€2,450
€3,50030% Off
CA$4,003.61
CA$5,719.4430% Off
A$4,459.93
A$6,371.3330% Off
CHF 2,352.54
CHF 3,360.7830% Off
MX$54,078.06
MX$77,254.3730% Off
NOK 29,927.75
NOK 42,753.9330% Off
SEK 27,879.60
SEK 39,827.9930% Off
DKK 18,661
DKK 26,658.5830% Off
About the Item
Venus in Muschelwagen is a superb black and white etching on paper, realized in 1907 by the German artist Eduard Einschlag (Leipzig 1879 -1945), after Max Klinger (Leipzig 1857 - Grossjena 1920).
Inscriptions on plate on lower margin under the image: "Max Klinger pinxit. / O. Felsing Berlin Imprt./ E. Einschlag sculpt.". Title on lower margin at the center.
This wonderful modern original print representing a mythological scene, is taken from a Max Klinger's fresco in Villa Albers (Nationalgalerie Berlin). This etching is realized by Edouard Einschlag, a German member of the Leipzig Secession, of the Deutscher Künstlerbund and co-founder of the Leipzig Annual Exhibition, for which he organized many exhibitions. He died murdered in the Trebklinka concentration camp.
In excellent condition, the work is applied to the verso with a modern passe-partout adhesive tape, cm 55 x 110.
- Creator:Max Klinger (1857 - 1920)
- Creation Year:1907
- Dimensions:Height: 19.1 in (48.5 cm)Width: 4.14 in (10.5 cm)Depth: 0.08 in (2 mm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:Insurance may be requested by customers as additional service, contact us for more information.
- Gallery Location:Roma, IT
- Reference Number:Seller: M-1016391stDibs: LU65037018802
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Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come.
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