{"id":169276,"date":"2012-12-19T12:53:00","date_gmt":"2012-12-19T17:53:00","guid":{"rendered":"https:\/\/www.bates.edu\/news\/?p=169276"},"modified":"2025-05-20T12:54:11","modified_gmt":"2025-05-20T16:54:11","slug":"max-klinger-the-intermezzi-portfolio","status":"publish","type":"post","link":"https:\/\/www.bates.edu\/news\/2012\/12\/19\/max-klinger-the-intermezzi-portfolio\/","title":{"rendered":"‘Max Klinger, The Intermezzi Portfolio’"},"content":{"rendered":"\n
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Max Klinger, “Intermezzi Portfolio,” Opus IV, 1881, Plate XII, “Amor, God und Jenseits.”<\/figcaption><\/figure>\n\n\n\n

In his “Intermezzi Portfolio,” Opus IV, fin de siecle  <\/em>artist Max Klinger produced a portfolio of 12 masterful etchings and aquatints that embrace Romanticism, Symbolism and the sublime to explore his favorite themes of desire, fantasy and death.<\/p>\n\n\n\n

Klinger (1857\u20131920) was an important artist in Germany at the turn of the 20th century. First published in 1881, his “Intermezzi Portfolio” addresses diverse subjects, such as Cupid, an elf and the figure of Death; the mythological lives of centaurs; and the 17th-century novel Simplicius Simplicissimus<\/em>, by H.J.C. von Grimmelshausen.<\/p>\n\n\n\n

This exhibition was organized with assistance from curatorial intern Douglas P. Welsh, a member of the Bates class of 2014.<\/p>\n\n\n\n

Intermezzi<\/em> is a 2012 museum purchase with funds from the Dorothy Stiles Blankfort ’31 Fund and the Robert A. and Minna F. Johnson Art Acquisition Fund.<\/p>\n\n\n\n

Along with the exhibition Robert S. Neuman’s “Ship to Paradise<\/em>,” the Klinger exhibition opens Jan. 18 and runs through March 22.<\/p>\n\n\n\n

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Learn about the other winter 2013 exhibitions at the Bates College Museum of Art:<\/em><\/p>\n\n\n\n