Franz von Stuck

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Description

Franz Von Stuck
Inferno
signed and dated FRANZ / VON / STVCK / 1908 (lower left)
oil on canvas
50 1/2 by 82 1/4 in.
128.5 by 209 cm

Provenance

Galerie Wimmer & Co., Munich, 1929

Sale, Christie’s, London, October 9, 1997, lot 64

Exhibited

Rome, International Kunstausstellung, 1911, no. 463

Munich, Secession, 1912, no. 190

Berlin, Königliche Akademie der Kunste, Ausstellung zur Feier des Regierungs Jubiläums Seiner Majestät des Kaisers und Konigs, 1913, no. 19

Berlin, Großer Berliner Kunstausstellung, 1913, no. 1458

Munich, Glaspalast, Ehrenausstellung Franz von Stuck, 1929, no. 2668

Stuttgart, Württemberger Kunstverein, Kunstgebäude, n.d., no. 601

Munich, Villa Stuck, Franz von Stuck, 1982, no. 33

Munich, Städtische Galerie in Lenbachhaus, Der Kampf der Geshlechter. Der neue Mythos in der Kunst 1850-1930, 1995, no. 45

Amsterdam, Van Gogh Museum, Franz von Stuck. Eros & Pathos, 29 September 1995-21 January 1996, no. 43

Literature

F.von Ostini, Franz von Stuck. Das Gesamtwerk, Munich, 1909, (as In der Unterwelt), pp. X and 134, illustrated, p. 153, for photograph of Stuck’s studio with the present work in view

H. E. von Berlepsch, Die Kunst unserer Zeit, Munich, 1910-11, vol. 21, illstrated prior to p. 205

F. Pecht, Die Kunst für Alle, Munich, 1911-2, vol. XXVII, pp. 485 and 489, illustrated

F. Pecht, Die Kunst für Alle, Munich, 1911-2, vol. XXXI, p. 7

O.J. Bierbaum, F. Mottl and F. von Stuck, Eine Deutsche Kunstspende, Berlin and Munich, 1916, illustrated following p. 80

O.J. Bierbaum, Franz von Stuck. Künstlermonographien, Bielefeld and Leipzig, 1924, vol. XLII, no. 126, illustrated following p. 126

Kunst dem Volk, Vienna, 1942, vol. 13, p. 30, illustrated in color

H. Seling, Jugendstil. Der Weg ins 20. Jahrhundert, Heidelberg and Munich, 1955, p. 141

D. Sternberger, Das zerstörte Reich der Schönheit. Rede zur Eröffnung der Stuck-Villa, Munich, 1968, n.p.

Süddeutsche Zeitung, Munich, 23-4 March 1968, illustrated

H. Voss, Franz von Stuck 1863-1928, Werkkatalog der Gemälde mit einer

Einfuhrung in seinen Symbolismus, Munich, 1973, pp. 293-4 and 173, illustrated

Rauch in the catalogue of the exhibition Franz von Stuck. Gemälde, Zeichnung, Plastik aus Privatbesitz, Passau, 1993, p. 9

J.A. Birnie Danzker, in the catalogue of the exhibition Franz von Stuck. Die Sammlung des Museums Villa Stuck, Munich, 1997, p. 238

Catalogue Note

Seven studies are recorded for the individual figures in Inferno and three studies in tempera (see Voss, op. cit., pp. 293-4).

Inferno is an extraordinarily ambitious multi-figured composition that illustrates von Stuck’s powerful, haunting and singular vision. Franz von Stuck championed the Symbolist aesthetic, interweaving themes of fear and sensual passion that culminated in expressive psychological compositions of pure color. Inspired by mythology, allegory, mysticism, religion and antiquity, von Stuck’s dizzying oeuvre is both evocative and emotionally resonant.

In the 1890s von Stuck began to craft sculpture, inextricably drawn to the medium’s three-dimensionality and monumentality. This interest clearly extends to Inferno where the bold treatment of the figures recalls the towering statuary of antiquity. The voluptuous woman at the far right grappling with the coiling snake especially recalls the fierce struggle of Lacoon and his Two Sons.

Von Stuck often crafted specially designed frames for his paintings. Inscribed with the title of each work, von Stuck seamlessly synthesized image and frame to create a unified whole.