![]() ![]() Here the woman does not carry the snake as a seductive attribute, resting on her voluptuous body as in Die Sünde rather, she wrestles with it as did the Priest Laokoon in the famous sculpture group, who tries in vain to escape from the strangling python (personifying evil), while a man below is being crushed by the weight of it. Von Stuck used the theme of sin, personified by a woman embraced by a snake, several times after his first version executed circa 1891-2. In Inferno, painted at the height of his 'social' career, Franz von Stuck repeats a resemblance of Die Sünde in the female figure on the right. Die Sammlung des Museums Villa Stuck, Munich, 1997, p. Birnie Danzker, in the catalogue of the exhibition Franz von Stuck. Gemälde, Zeichnung, Plastik aus Privatbesitz, Passau, 1993, p. Rauch in the catalogue of the exhibition Franz von Stuck. ![]() Werkkatalog der Gemälde mit einer Einfuhrung in seinen Symbolismus, Munich, 1973, pp. Süddeutsche Zeitung, Munich, 23-4 March 1968 (illustrated). Rede zur Eröffnung der Stuck-Villa, Munich, 1968. Sternberger, Das zerstörte Reich der Schönheit. Jahrhundert, Heidelberg and Munich, 1955, p. Künstlermonographien, Bielefeld and Leipzig, 1924, vol. von Stuck, Eine Deutsche Kunstspende, Berlin and Munich, 1916 (illustrated following p. Pecht, Die Kunst für Alle, Munich, 1915-6, vol. Pecht, Die Kunst für Alle, Munich, 1911-2, vol. von Berlepsch, Die Kunst unserer Zeit, Munich, 1910-11, vol. Paintings like Die Sünde (Neue Pinakothek, Munich), Der Krieg (Neue Pinakothek, Munich) and Der Kuss der Sphinx (Museum of Fine Arts, Budapest) and sculptures such as Verwundeter Kentaur and Amazone are icons of early twentieth-century art – works whose aesthetic appeal and pulling power are still unabated.F. Echoing Arnold Böcklin and Max Klinger, his Symbolist imagery is filled with yearning for a world enraptured by beauty, between heroism and hedonism. Stuck’s importance lies in his unrivalled ability – as a draughtsman, painter and sculptor – to use his unerring decorative sensibility to break down the boundaries between fine and applied art. The building was built and decorated according to his own plans – an attempt to create his own ideal of the Gesamtkunstwerk through a symbiosis of architecture, painting and sculpture. His appointment as professor at the Munich Academy in 1895, coupled with the construction of a magnificent villa on Prinzregentenstrasse in 1897-8 elevated his social status. As a founder member of the Munich Secession in 1892 he was able to exercise increasing influence in official artistic circles. The painting, an idealized life-sized self-portrait, is now in the collection of the Museum Villa Stuck in Munich. Stuck’s breakthrough came in 1889 when he was awarded a gold medal for a painting titled Der Wächter des Paradieses at the annual exhibition staged at the Munich Glaspalast. These works demonstrate a growing sensibility for ornamental effect and a penchant for highly imaginative mythological imagery, both of which were to form the bedrock of his artistic practice and bring him widespread recognition. As an academy student in the years 1881-5 he produced humorous drawings for illustrated magazines and provided sketches for a portfolio titled Allegorien und Embleme. After completing his training he enrolled at the Munich Academy. Unusually for a boy of his social rank, his talents were nurtured from an early age and he was sent to train at the Kunstgewerbeschule in Munich. ![]() Īs a child, Stuck showed precocious skill as a draughtsman. His princely lifestyle contrasted starkly with his modest beginnings, earning him the title Malerfürst. A miller’s son, he advanced to be one of the most highly respected artists of his day. Franz Stuck’s life is a story of rags to riches. ![]()
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