It did not belong to the traditional current of historical painting or the popular peasant genre. The Guardian of Paradise caused a stir because of its unusual technique and the new approach it took to the subject. The work, a foundation for his mature art, was exhibited in 1889 at the first Münchener Jahresausstellung (Munich Annual Exhibition). The Guardian of Paradise is essential in Franz von Stuck’s art as a marker of his breakthrough into the Munich artistic circles. Guardian of Paradise (1889) Guardian of Paradise by Franz von Stuck, 1889, via Villa Stuck Perhaps because of this fixation on the muscled nude, the clergy of a Berlin church refused the Crucifixion of 1892 when a wealthy patron offered to donate it to them.ģ. Stuck studied the distinctive poses of the human form in numerous preparatory sketches and studies of the live model. His position of resignation differs sharply from the tormented poses of the thieves beside him, which is reinforced in the 1892 version by the mocking crowd in the background.Īnother striking antithesis is that between the dress of the onlookers, built up with grand, stylized forms, and the detailed nude bodies of Christ and the thieves. Christ has just died and hangs on the cross in a bright, supernatural light. Stuck’s representations of the Crucifixion, both the painting of 1892 and the later variant, contain dramatic color contrasts. Crucifixion (1892) Crucifixion by Franz von Stuck, 1892, via FlickrĪs seen in the Pietà, the Christian themes of suffering, passion, and emotions greatly influenced Franz von Stuck’s art, highlighting the human elements of religious drama. As such, it has been described by art historians as a Symbolist self-portrait.Ģ. Christ’s body bears the artists’ features. The muscle of his left arm is still tensed, the hand convulsed, bringing to mind the nails of the cross and Christ’s Passion. Christ has no halo, being depicted merely as a dead man in the tradition of Hans Holbein. A sharply delineated halo surrounds her head in the form of a ring intersected by the upper canvas edge. Both Jesus and Mary are rendered in profile, Mary in a strictly vertical position, head inclined slightly forward, face in hands.
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