I remember even then thinking how stupid this restriction was. If you were painting or drawing a person, the person had to be there. There seems to be little in biographies about von Stuck, on how innovative his techniques for painting were.Įven up to the 1950s and 1960s, the use of photographs was frowned upon in some schools of art. They are intended to be plain enough that they do not detract from the impact of the scene, but allow him to add words which will serve to batter in the message – this my fellow beings is lust – enjoy. The frames must be considered as an integral part of the overall piece. Stuck paid much attention to the frames for his paintings and generally designed them himself with careful use of panels, gilt carving and inscriptions. And von Stuck is reflecting Germany – the old Austrian/Hungarian empire with its sexual repression coupled with hypocritical immorality, its Catholic beliefs on ‘sin’, and ‘lust’ and ‘vice’ and ‘hell’. It throws back into our faces what we have become. Along with key figures like Nietszche, another fighter in the war against hypocrisy.Īll art reflects the culture and the time in which it is created. All art mirrors, it reflects, it exposes and characterises. Schiele was a traumatised man and thus his images represent that trauma, in contrast von Stuck had an extremely mischievous sense of humour and in the end he uses a form of humour to represent his culture and his time, to satirise and to parody the behavioural restrictions, beliefs and oddities of his time. All of them were attacking repression and distorted moral values. Von Stuck is closer in style to Gustav Klimt in his use of eroticism and sensuality, but his intent is not dissimilar to Schiele. In trying to understand something of von Stuck’s work, it might first be helpful to compare his work with Egon Schiele and perhaps Gustav Klimt. Yet by the time of his death, Stuck's importance as an artist in his own right had almost been forgotten. The number of Stuck's pupils who achieved great success served to enhance the teacher's own fame. In the last phase of his work, Von Stuck concentrated once more primarily on sculpture. Stuck was ennobled on Decemand would receive further public honours from around Europe during the remainder of his life. The many prizes and honours awarded to Stuck included the Ritterkreuz des Verdienstordens der Bayerischen Krone (Cross of Knighthood in the Order of Merit of the Bavarian Crown), a distinction coupled with elevation to knighthood. Von Stuck also became a member of the board of 'Genossenschaft Pan', publishers of the art magazine 'Pan', for which he designed the cover. His notable students included Paul Klee, Hans Purrmann, Wassily Kandinsky, and Josef Albers. In 1895, when still only thirty-two, he was appointed professor at the Munich Academy. At the 1893 'Munich Secession' exhibition, he showed "Die Sünde" (The Sin), creating a sensation. Around 1892, he became one of the founders of the Munich Sezession. The first major work was the Wounded Centaur in 1890, then the Athlete in 1892. After being awarded the gold medal for the painting " Die Wächter des Paradieses" ("The Guardians of Paradise), Von Stuck devoted himself entirely to painting, becoming a portraitist who was much in demand.Īround 1890, Von Stuck turned to sculpture and produced a number of statues and statuettes. In 1889, he exhibited his first paintings at the Munich Glass Palace.
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