![]() ![]() A British Intelligence report compiled on him during the war noted that he appeared to only enjoy circus acts if they involved situations where the woman was in danger. One of Franz von Stuck's best-known paintings The Wild Chase, depicting Wotan (Odin) on horseback leading a procession of the dead, painted the year of Hitler's birth in 1889, has obtained a kind of semi-legendary status as the face of Wotan in the painting greatly resembles Hitler's.įranz von Stuck made frequent use of the image of a woman wrapped by a serpent, a bondage image, Hitler was well known to be attracted to images of women in peril. His tempting female nudes are a prime case of well known Symbolism art. Franz von Stuck's subject matter was principally from folklore and mythology, inspired by the work of Arnold Böcklin. He continued to be well respected among young artists as a professor at the Munich Academy, even after his artistic styles became unfashionable. ![]() Having attained much fame by this time, in 1905 Franz Stuck was awarded the Order of Merit of the Bavarian Crown and was from that point forward known as Franz von Stuck, he would receive further public honors from around Europe during the remainder of his life. Ten years after studying at the Academy, in 1895 was teaching painting at the Munich Academy. ![]() The following year he won acclaim with the critical and public success of what is currently his most popular work, the artistic creation The Sin, and the same year, Stuck was awarded a gold medal at the World's Columbian Exposition in Chicago. In 1892 Franz von Stuck was one of the founding members of the Munich Secession, a group of artists who broke from the traditional art teachings. Against the background of the intense discussion on the topic and the constantly evolving roles of woman and man, the project offered insights into the complexity of gender issues and shed light on the art historical dimension of a highly relevant socio-politic subject.Ĭurators: Felicity Korn (Assistant Curator of Modern Art, Städel Museum), Dr.Franz von Stuck from an early age liked to draw, and at the age of fifteen in 1878 he moved to Munich, where he would stay for the rest of his life, to study art, and from 1881 to 1885 Stuck attended the Munich Academy. With the additional aid of important loans, the presentation placed works by well-known names in art history -for example Gustave Moreau, Édouard Manet, Gustav Klimt, Otto Dix, Meret Oppenheim or Frida Kahlo -side by side with discoveries that expand the canon with the strong outlooks of such artists as Leonor Fini, Jeanne Mammen, Rudolf Jettmar or Gustav Adolf Mossa. The show drew from the Städel Museum holdings which -with paintings by Max Liebermann, Edvard Munch and Franz von Stuck, sculptures by Auguste Rodin and photographs by Frank Eugene, Man Ray and others -include important works on the subject. Featuring a selection of some 150 works of painting, sculpture, graphic art, photography and film, the large-scale exhibition project aimed to single out the especially concise artistic positions and open up a dialogue between them. Others challenged established clichés and endeavoured to subvert them with strategies such as irony, exaggeration, masquerade and blending. The traditional definition of male and female as active/passive, rational/emotional, culture/nature was heavily debated in modern art: many artists presented their viewers with overstated gender characteristics and cemented stereotypical role models in their works. The exhibition “Battle of the Sexes: Franz von Stuck to Frida Kahlo” shed light on the artistic investigation of gender roles from the mid-nineteenth century to the end of World War II. ![]()
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