{"id":11453,"date":"2012-05-25T02:42:53","date_gmt":"2012-05-25T01:42:53","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=11453"},"modified":"2012-07-13T02:16:53","modified_gmt":"2012-07-13T01:16:53","slug":"max-klingers-new-salome","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2012\/05\/25\/max-klingers-new-salome\/","title":{"rendered":"Max Klinger’s New Salom\u00e9"},"content":{"rendered":"

\"klinger.jpg\"<\/a><\/p>\n

The New Salom\u00e9 (1887\u20131888) by Max Klinger.<\/em><\/p>\n

The German Symbolist Max Klinger (1857\u20131920) is celebrated today for the etchings which comprise his Ein Handschuh<\/em> (A Glove<\/em>)<\/a> series, ten prints that in their curious details and dream-like quality prefigure Surrealism and Giorgio de Chirico’s “metaphysical” paintings. During his life Klinger was highly regarded for his sculpture as well as his etchings: his Beethoven was a centrepiece of the Secession building<\/a> in Vienna in 1902. His New Salom\u00e9<\/em> is one of the handful of Klinger works at the Google Art Project<\/a> where I still feel we ought to be able to view sculpture in the round. I’ve seen many photos of this piece before but hadn’t realised until now that the eyes were…what? Rubies? Amber? Whatever they are, their fiery cast ensures that his imperious female sits unequivocally with the Evil Women that proliferated in the late 19th century.<\/p>\n

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Salom\u00e9 (c.1910) by Julio Borrell Pla.<\/em><\/p>\n

Klinger’s sculpture may have been fashionably misogynist but it was at least a serious piece of art. Twenty years later the Salom\u00e9 theme had devolved to little more than titillating exotica, as with this vaporous painting by Julio Borrell Pla which I hadn’t come across before. The\u00a0last gasp of this exhausted trend is William Dieterle’s 1953 film<\/a> in which Rita Hayworth plays Herod’s daughter as all titillation and little else.<\/p>\n

Elsewhere on { feuilleton }
\n\u2022 The Salom\u00e9 archive<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

The New Salom\u00e9 (1887\u20131888) by Max Klinger. The German Symbolist Max Klinger (1857\u20131920) is celebrated today for the etchings which comprise his Ein Handschuh (A Glove) series, ten prints that in their curious details and dream-like quality prefigure Surrealism and Giorgio de Chirico’s “metaphysical” paintings. During his life Klinger was highly regarded for his sculpture … Continue reading “Max Klinger’s New Salom\u00e9”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,44,41,18,45],"tags":[2324,4854,3715,1069,1270,597,123],"class_list":["post-11453","post","type-post","status-publish","format-standard","hentry","category-art","category-painting","category-sculpture","category-surrealism","category-symbolists","tag-beethoven","tag-google-art-project","tag-julio-borrell-pla","tag-max-klinger","tag-peter-reed","tag-rita-hayworth","tag-salome"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-2YJ","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/11453","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=11453"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/11453\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=11453"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=11453"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=11453"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}