![]() ![]() Stuck’s art is connected and runs parallel to the influential work of some of his contemporaries such as Richard Wagner, Friedrich Nietzsche and Sigmund Freud, all of whom were interested in the desires and anxieties of the human psyche, as well as questioning society’s moral, religious and spiritual constructions. Stuck’s Eve, and by extension Stuck demands that the viewer complicate and question their conception of sin itself. As Klinger’s etching testifies, Die Sünde was painted at a time of social introspection, as the scientific field of psychoanalysis is beginning to take shape and the primacy of religion as a moral arbiter is being displaced. 3), in which the snake holds a mirror for Eve, as if to reveal to her a truer self. 2), but is closer to his peer Max Klinger’s clever rendering of Eva und die Zukunft (1898, The Metropolitan Museum of Art, fig. ![]() His representation of Eve as femme fatale could not be more different from the grief stricken and shamed figure depicted in Masaccio’s Expulsion from the Garden (fig. With the bodies of Eve and the snake entwined, their cool skin in close contact, each empowers the other to brazenly confront the viewer. Incidentally, it is also the space in which Stuck consistently, and prominently, signs his name. Perhaps this fire references Eve’s damnation and hell, but just as likely it is an allusion to the knowledge of good and evil which has been bestowed upon her by Lucifer, a figure that Stuck exhibited to shocking effect in 1891 and who is known also as the “morning star” or “light bringer”. In this poignant imagining, he presents only Eve, emerging naked out of a darkness, the body of the massive snake coiled around her, and a sulphurous light or flame in the upper right. Here Stuck has taken the story of the temptation of Eve and condensed it to its three most essential parts, omitting any extraneous narrative elements such as the garden, the apple or Adam. ![]() 1), an elaborate home entirely of his design his Gesamtkunstwerk, or total work of art. Including the present work, twelve versions of the painting are now known, a testament to the image's fame and notoriety, and many of these are in public collections such as the Neue Pinakothek in Munich, the Nationalgalerie in Berlin, the Galleria di arte Moderna in Palermo, the Frye Museum in Seattle, and another remains enshrined as an icon in his Künstleraltar in the artist’s studio at the Villa Stuck in Munich (fig. First conceived in 1889 as Die Sinnlichkeit (Sensuality) (private collection), subsequent versions show subtle variations and evolve into the current composition, Stuck’s grand meditation on sin. Now widely considered to be an icon of the Symbolist art movement, Franz Stuck's Die Sünde (The Sin) drew large crowds even when it was first exhibited at the premiere exhibition of the Munich Secession in 1893, an association of artists which Stuck had co-founded a year before. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller." ![]() "This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. All of these retouches are very confined and carefully added, and they certainly do not indicate any condition issue. There are also a few dots of retouching in the figure's hair to the right of her waist. Under ultraviolet light, a few spots of retouching can be seen in the top of the serpent's head and beneath its mouth above the right breast. However, the picture looks beautiful as is, and a brighter varnish does not seem appropriate or necessary. If it has been varnished, the varnish is very soft. It is unlined and on its original stretcher. The following condition report was kindly provided by Simon Parkes Art Conservation, Inc.: ![]()
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