Hienl-Merre, Franz
(1869 Mainz - Munich 1943). A foursome with 2 goats in a mead…

Description

Hienl-Merre, Franz (1869 Mainz - Munich 1943). A foursome with 2 goats in a meadow. Oil on wood. 29 x 40 cm. In gold-colored stucco frame (läd.). ╔Including: 8 movement studies probably by titmice╗ on 1 sheet of thin paper. Anonymous, partly heightened in white col. Brush and India ink drawing, 20th cent. approx. 49 x 57 cm. Framed under mat and glass (not framed). - Folded several times, partly somewhat creased. D

3650

Hienl-Merre, Franz

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Franz von Stuck (1863 Tettenweis/Lower Bavaria - 1928 Tetschen) "Dancer". Original title Bronze, dark patina, 1897/98, signed "FRANZ STUCK", foundry mark "GUSS C. LEYRER MUNICH". Cast before 1906 (Franz von Stuck was ennobled in 1906). Franz von Stuck created the model for this bronze sculpture in 1897/98 shortly after his marriage to Mary Lindpaintner (1897), who was the model for the dynamically moving "Dancer". While the "Dancer", standing on a round plinth, performs a striding movement forwards, she turns her upper body to the right and her head to the left, while her skirt, gathered with her left hand, falls into countless fine folds. The bronze is one of a series of sculptures created by the artist in the 1890s. Unlike his "Kugelstemmenden Athleten", which was euphorically received by critics in 1892, critics were not unanimous in their assessment of the sculpture when he first showed the "Tänzerin" at the Munich Secession exhibition in 1898. Stuck had already explored the theme of dance in detail beforehand. In composing the "Dancer", he drew on the motif of the 1895 relief of dancers, which had been inspired by Loïe Fuller's veil or serpentine dances in Paris, which had caused a sensation. Around 1900, the dancer Loïe Fuller had become an internationally celebrated icon for artists, painters, sculptors, graphic artists and poets. At the same time, Franz von Stuck was influenced by the sensually intoxicating dancing maenads of ancient mythology. The "Dancer" is Stuck's freest bronze sculpture and the female counterpart to his athlete, who bore his own features. Around 1902/03, he chose the two sculptures to decorate the predella zone of his "Altar of Sin" in his studio, which was crowned by the famous Stuck painting "Sin". They are related to each other and reflect the mutual erotic attraction of man and woman. H. 62.5 cm. Selected general literature: "Offizieller Katalog der Internationalen Kunst-Ausstellung des Vereins bildender Künstler Münchens (A.V.) 'Secession', Munich 1898, no. 397; Otto Julius Bierbaum: "Stuck" (Künstler-Monographien), Bielefeld and Leipzig 1899, ill. 145-146; cat. "München 1869-1958. Aufbruch zur modernen Kunst", Munich, 1958, cat. no. 977; cat. "Franz von Stuck. Werk - Persönlichkeit - Wirkung", Museum Stuck-Villa, Munich, 1968, cat. no. 7; cat. "Franz von Stuck. Gemälde - Zeichnungen - Plastik aus Privatbesitz", Aschaffenburg, Freiburg and Rosenheim, 1994, cat. no. 71; Thomas Raff: "Die Kraft des Mannes und die weiche Schmiegsamkeit des Weibes", in "Franz von Stuck: Das plastische Werk", cat. no. 71. Franz von Stuck Geburtshaus Tettenweis 2011, pp. 48-52 (with illustration). Dark patinated bronze, 1898, signed "FRANZ STUCK", foundry stamp "GUSS C. LEYRER MÜNCHEN". Cast before 1906 (Franz von Stuck was ennobled in 1906).

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Stuck, Franz von (1863 Tettenweis - 1928 Munich, after) - "Frühling", colored art print after an original by Franz Stuck, signed and dated in the stone "Franz Stuck 1902", inscribed below the image "Franz Stuck pxt.", Edition: Könyves Kàlmàn, Budapest, margins browned, slightly stained and creased, sheet dimensions approx. 62 x 60 cm

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