POSTER FOR VII INTNL ART EXHIBITION OF MUNICH ARTISTS ASSOCIATION & SECESSION

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Franz von Stuck
POSTER FOR VII INTNL ART EXHIBITION OF MUNICH ARTISTS ASSOCIATION & SECESSION
1897

About the Item

FRANZ VON STUCK, POSTER FOR VII. INTERNATIONALE KUNSTAUSSTELLUNG MÜNCHNER KÜNSTLERGENOSSENSCHAFT UND SECESSION (VII INTERNATIONAL ART EXHIBITION OF THE MUNICH ARTISTS ASSOCIATION AND SECESSION), 1897, Color lithograph signed in the plate at center right: “Franz/Stuck”; printed by Meisenbach Riffarth & Co., Munchen. Custom Framed. Stuck’s poster advertising the Munich Secession’s exhibition at the Glaspalast in 1897 uses Pallas Athena as its central theme. Hardly a throwback to historicism, this Goddess of antiquity was being summoned by the group’s leader in an unmistakeable call to action against the present Establishment. Stuck and his Secession group were battle-ready and aimed to lead the arts out of cultural backwardness. The group’s intention was a break away from the constraints of State-directed art. The male head of a Trojan warrior in profile on the right reinforces the Secession group’s determination; while his feminine counterpart on the left, a nude shown in profile, engages in an act of making art. Together, they draw the viewer’s attention to the central panel, where Pallas Athena leads the charge. Patroness of the arts and higher learning, Athena is also the Goddess of War. Her attributes make her identity clear. She wears a helmet topped with the Greek Sphinx which is flanked by horses. Her snake-trimmed aegis is adorned with the slain face of the Gorgon, Medusa. In her left hand, Athena holds her spear and in the other hand a golden orb on which is perched the personification of Victory. Depicted just as the colossal statue of Athena which once had majestically stood at the Parthenon was believed to appear, with the winged Nike holding her spear and laurel wreath of victory, the long lost icon missing for millennia reappeared for Stuck’s group. Significantly, Stuck’s Nike is the only dynamic figure in an otherwise deliberately static image. She is captured in the midst of an athletic movement just as her left foot appears to be pushing off Athena’s orb. The torsion in Nike’s body, the extension of her speared hand behind her and the flexion of her other arm indicates the moment just before she will throw her laurel wreath. Stuck’s poster’s message is clear. Success was certain. The Munich Secession would win the prize. FRANZ VON STUCK (German, 1863-1928) There is a tension between the Apollonian and Dionysian in Stuck’s work. Nietzsche’s contemporary and a kindred spirit, Stuck valiantly searched for a way out of nihilism- beyond Good and Evil- by seeking to expose the psychological underpinnings of morality. He mined the depths of the subconscious and challenged long-held beliefs. With comprehensive inquiries into Franz von Stuck’s art such as the 1995 retrospective exhibition at the Van Gogh Museum in Amsterdam and the 2013 exhibition held at Seattle’s Frye Art Museum, a once grossly overlooked artist is emerging from the shadows. The breadth of his influence on modern art is dazzling. Like many talented young art students, Stuck was plucked by Gerlach & Schenk publishers in Vienna to contribute illustrations for Allegories und Embleme and other publications beginning in 1878 for which he continued until 1888. He officially debuted as a painter in 1889 in Munich at the Artist Association where he was awarded a gold medal. Growing success in the next several years at exhibitions throughout Germany led to State-commissioned work and by age 30, Stuck had become a full professor at the Royal Academy of Fine Arts in Munich. That same year, 1893, Stuck organized the first exhibition of the Munich Secession. Driving this avant-garde group was an anti-nationalist undercurrent which instead favored pluralism. This showed in a willingness to collaborate with artists from all places, an openness to varieties of styles and multi-disciplinary thought as well as a de-emphasis placed on any distinction made between the so-called high and applied arts. A shaper of these tenets, Stuck’s belief in the “total work of art” concept -or gesamtkunstwerk- was beautifully demonstrated in his Munich Villa Stuck which he completed in 1890. Now with the Munich Secession, Stuck’s art and guiding principles began to gain traction. His art was included later that year in the World’s Columbian Exposition in Chicago, the largest attended World Fair in history. At Paris’ l’Exposition Universelle in 1900, Stuck received a gold medal for the furniture he designed for Villa Stuck. Other artists receiving praise at the Exposition, such as Gustave Klimt, had already taken note of the Munich Secession and Stuck’s influence is unmistakable. Five years after the Munich Secession’s first exhibit, Klimt’s group formed the Vienna Secession. From their mission statement and exhibition format to later publications, there is no question that Stuck’s Munich Secession was their model to follow. Klimt’s inaugural Pallas Athena poster design dating from 1898 is remarkably similar to Stuck’s painting of Pallas Athena and Stuck’s exhibition poster from 1897. Stuck’s group also caught the interest of many Americans, including Alfred Stieglitz, who, in an article published in Century Magazine, credited the Munich Secession’s significant role in establishing pictorial photography. Stuck continued to exhibit his work in the United States until his death in 1928. True to Nietzsche, Stuck indeed has succeeded at being in a perpetual state of becoming. Students of Stuck’s at the Munich Academy, such as Wasily Kandinsky, Paul Klee and Josef Albers owe much of their own development in the arts to him. Bridging Symbolism with non-objective art through his theoretical inquiries into the spatial qualities of color, Stuck’s influence still reverberates.

Creator:
Franz von Stuck (1863 - 1928)
Creation Year:
1897
Dimensions:
Height: 30.25 in (76.84 cm)Width: 40.5 in (102.87 cm)
Medium:
Lithograph
Movement & Style:
Jugendstil
Period:
1890-1899
Condition:
Featured in "Franz von Stuck", Danzker, Frye Art Museum, pg 65.
Gallery Location:
Chicago, IL
Reference Number:
1stDibs: LU46731973673

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