In late eighties and early nineties, Germany saw an evolutionary painter, graphic artist, and sculptor Max Klinger (1857-1920).
One of the pioneers of 'Symbolism,' Max studied in Karlsruhe and Berlin.
After a short stint in army, he devoted himself to painting during 1886 to 1894.
'Judgment of Paris' and 'Christ on Olympus' are some of his famous works of this era.
After 1894, the creator of "Paraphrase of the finding of the Glove" actually chose his most successful medium of expression, sculpture.
Klinger started from 'Classicism' and reached up to 'Art Nouvaeu' through 'Romanticism.
' Heavily influenced by Adolph Menzel and Arnold Bocklin, Max Klinger mostly worked on large-format paintings with Christian themes.
He did landscape paintings and portraits too.
Arguably, his most famous works were his etchings, which were done aesthetically and were the works of a genius.
"Paraphrase of the finding of the Glove" series is the most important and the earliest etching series of Max Klinger.
The series of ten etchings created in 1881, is a 'cyclic' narrative, seen almost in all his works.
"Paraphrase of the finding of the Glove" is inspired from Max's dream, after actually finding a glove in an ice skating rink.
A masterpiece of early 'German Romanticism,' Klinger's "Paraphrase of the finding of the Glove" shows a man, perhaps the artist himself, who finds a glove dropped by a beautiful unidentified woman.
He becomes obsessive with that glove, which actually 'Symbolizes' his selfless love for the woman.
This glove keeps changing phases with the flow of love and the emotional levels thereof, shown in the series.
The story, as progresses, becomes more and more beautiful.
Titled initially as "Ein Handschuh (A Glove)," "Paraphrase of the finding of the Glove" begins with the "Ort (Place).
" It shows the scene of a skating rink in Berlin, frequented by the rich and wealthy.
Here, the protagonist first time sees and is drawn to the heroine of the tale.
The woman is shown in the company of two men.
The second slide, "Handlung (Action)" shows the crescendo of developing love, with the hero trying to pick up her dropped glove, despite his own hat falling to the ground.
The third plate "Wunsche (Yearnings)" shows the upset man, as he has not been able to reach up to the woman.
He is shown sitting in bed with his face buried in his palms and kept on his raised knees.
The glove is at his feet.
Successive etching, "Rettung (Rescue)" shows the man in a boat in a sea storm, with the glove floating on the waves, portraying the fate of love.
He is striving yet again to rescue the glove.
The "Triumph" shows the victorious glove sitting pretty and favorably.
The next slide "Huldigung (Homage)" seems to salute the prevailing love.
"Angste (Anxieties)" conveys the uncertainty surrounding the feeling of mature love.
It does not let you be completely in or fully out of it.
"Ruhe (Repose)" is a stage when the love gets even and ready to get intense yet again.
The ninth slide, "Entfuhrung (Abduction)" shows the going away of love.
The dream turns into a nightmare, as a strange creature takes away the coveted glove.
The protagonist's hands desperately try to get it back, but in vain.
In the final scene of the etching, "Amor (Cupid)," Max Klinger shows a massive glove, lying on the ground.
There is a fairy cupid, flying over it and looking at it.
The end of "Paraphrase of the Finding of the Glove" is very abrupt, which actually shows that it was a dream suddenly broken.
"Paraphrase of the Finding of the Glove" or "the Adventures of the Glove" are the works, which are rare and one of its kinds.
This Piece of Max Klinger lends itself to Freudian dream interpretation and human psyche.