![]() Orpheus climbed Mount Pangaion to worship Apollo at sunrise, but was torn to shreds by maenads, female followers of Dionysus, for refusing to renounce Apollo. Stuck’s painting Orpheus is a perfect example of the clash of these two ideals: Orpheus was a legendary poet, musician and prophet in ancient Greek myth, and could charm even the stones with the music from his lyre. Combined, the two opposites create “true” tragedy, something that hasn’t been formed since the Greeks. Apollo is the god of the sun, reason and logic, while Dionysus is the god of wine, ecstasy and intoxication. In 1872, Nietzsche published The Birth of Tragedy, which explores the warring and complimentary sides of artistic impulse. Nietzsche’s Apollonian and Dionysian Dichotomy ![]() The themes featured in his paintings addressed many of the modern issues of the time as expressed by Darwin, Freud and Friedrich Nietzsche. ![]() In 1889, Stuck debuted his first painting at the Munich Glass Museum, and had his American art debut at the 1893 World’s Columbian Expo in Chicago. Program cover for the Munich Kunstaussellung (artists’ society) Illustrated cover of a Weltgeschichte (world history) book – the figure’s eyes and the stars feature gold embossing. Here Stuck begins exploring the creation of icons and the legendary, biblical and mythical symbols that will later dominate his painting career. Stuck supplemented his magazine work with providing drawings for book covers, pamphlets and promotional posters. Stuck first became relatively well-known when he began illustrating cartoons for the German weekly satirical magazine, Fliegende Blätter, a publication with 95,000 copies at its peak circulation, and featured other artists such as Wilhelm Busch and Julius Klinger. He attended the Munich Academy from 1881 to 1885 where he refined his artistic style. Born in Bavaria in 1863, Stuck showed an early talent for drawing and caricature. 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 did not begin as a painter, but as a graphic designer and an architect. 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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