![]() The woman’s flesh so exposed in the light might tempt a man seeking relieve of sexual desires and women in quest of sensations. In scant light contrasts of brightness are enhanced, as von Stuck showed in his picture. She tempts the viewer to follow her by opening her gown and showing in the light of a lantern the whiteness of her flesh. The woman could be a prostitute waiting in a dark alley of Munich for a willing client. The picture is called ‘Sin’ and not ‘Temptation’, yet the first emotion of the viewer could be the fascination of the woman on the passing-by spectator. How it does that need further analysis.Ĭomplex and diverse feelings come onto the viewer when he or she stands in front of Von Stuck’s painting. The golden colour emphasises the strange atmosphere that emanates from the picture. The symbolist artists designed elaborate frames for their pictures. Such heavy frames were common in Jugendstil. The massive gilded frame of the painting adds to the contrast that is already in the picture, the contrast between the subject of the woman that exposes her body to the viewer and the richness of the surrounding. Von Stuck brought all the brightness of light on the nude parts of the woman’s body. A snake lies on her right shoulder and that snake curves around the back of the woman’s neck, along her left shoulder. ‘Sin’ shows a woman who denudes her breast and belly, but who otherwise remains in the darkness of an alcove. The main effect of the painting is engendered by the contrasts in the colours and by the concept of the picture. It receives its striking image not from its structure of lines, though the lines are very vertical. ![]() He died in Munich in 1928.įranz von Stuck’s ‘Sin’ is a painting that is simple in structure. This painting had an enormous success in Germany. His best-known picture is ‘Sin’, of which he made many versions in the period of from 1891 to 1912. His favourite themes were mythological scenes and allegories. Around 1897 to 1898 he built his ‘Stuck-Villa’ in Munich and decorated the building, developing his ideas of total symbolist art. From 1995 on he was a professor at the same Academy of Munich for which he had been a few years before a contestant. The Munich Secession dates from 1892 it was followed in 1897 by the Secession of Vienna in Austria and in 1899 by the Secession of Berlin. The ‘Munich Secession’ was the first movement of progressive artists who led the art of painting into new styles of representation. He was in 1892 one of the founders of the ‘Münchner Sezession’, a group of artists that wanted to innovate German art and break with the traditions of the then well established painters. He worked for the magazine ‘Jugend’, and he embraced fully the Jugendstil, a symbolist movement in Germany. He worked through a period of early learning in the arts in a lesser-known arts-and-crafts- school of Munich, and entered the Munich Academy of painting in 1881. He sought to become a painter and artist already when he was very young, only fourteen years of age. 1893.įranz von Stuck was born in 1863 in a small town of lower Bavaria in Germany.
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