Lot 365
Video
365
Franz von Stuck
Tänzerin, 1898.
Bronze with black patina
Estimate:
€ 12,000 / $ 12,840 Sold:
€ 25,400 / $ 27,178 (incl. surcharge)
Tänzerin. 1898.
Bronze with black patina.
Inscribed "Franz Stuck" on the plinth's front side. With the foundry mark "Guss C. Leyrer" on the reverse. 63 x 23 x 32.5 cm (24.8 x 9 x 12.7 in).
Early cast from before 1906 (Stuck was enobled in 1906).
• Sweeping sculpture from the time of the artist's marriage to Mary, who is his model.
• Particularly effective patina with shimmering gold accentuation of the hair.
• Characteristic combination of antique models and modern Art Nouveau lines in Stuck's work.
• Inspired by the famous dancer of the fin de siècle, Loïe Fuller.
PROVENANCE: Private collection Bavaria (family-owned for at least 4 generations).
EXHIBITION: (Selection, each a different copy)
München 1869-1958, Aufbruch zur modernen Kunst, Munich, 1958, cat. no. 977.
Franz von Stuck, Werk - Persönlichkeit - Wirkung, Museum Stuck-Villa, Munich, 1968, cat. no. 7 (a cast from after 1906 on display).
Franz von Stuck, Gemälde - Zeichnungen - Plastik aus Privatbesitz, Galerie der Stadt Aschaffenburg / Augustinermuseum Freiburg / Städtische Galerie, Rosenheim, 1994, cat.no. 71.
A passi di danza. Isadora Duncan e le arti figurative in Italia tra Ottocento e avanguardia, Museo Bardini e Galleria Corsi, Florence, April 13 - September 22, 2019, p. 117, no. 11.
LITERATURE: (Selection, each a different copy)
Otto Julius Bierbaum, Stuck, Künstler Monographien, Bielefeld/Leipzig 1899 (illu. 145 and 146).
Fritz von Ostini, Franz von Stuck: Gesamtwerk, Munich 1909, p. 141 (illu.).
Thomas Raff, "Die Kraft des Mannes und die weiche Schmiegsamkeit des Weibes": Franz von Stuck, Das plastische Werk, ex. cat. Franz von Stuck Geburtshaus, Tettenweis 2011, pp. 48-52 (fig.).
Bronze with black patina.
Inscribed "Franz Stuck" on the plinth's front side. With the foundry mark "Guss C. Leyrer" on the reverse. 63 x 23 x 32.5 cm (24.8 x 9 x 12.7 in).
Early cast from before 1906 (Stuck was enobled in 1906).
• Sweeping sculpture from the time of the artist's marriage to Mary, who is his model.
• Particularly effective patina with shimmering gold accentuation of the hair.
• Characteristic combination of antique models and modern Art Nouveau lines in Stuck's work.
• Inspired by the famous dancer of the fin de siècle, Loïe Fuller.
PROVENANCE: Private collection Bavaria (family-owned for at least 4 generations).
EXHIBITION: (Selection, each a different copy)
München 1869-1958, Aufbruch zur modernen Kunst, Munich, 1958, cat. no. 977.
Franz von Stuck, Werk - Persönlichkeit - Wirkung, Museum Stuck-Villa, Munich, 1968, cat. no. 7 (a cast from after 1906 on display).
Franz von Stuck, Gemälde - Zeichnungen - Plastik aus Privatbesitz, Galerie der Stadt Aschaffenburg / Augustinermuseum Freiburg / Städtische Galerie, Rosenheim, 1994, cat.no. 71.
A passi di danza. Isadora Duncan e le arti figurative in Italia tra Ottocento e avanguardia, Museo Bardini e Galleria Corsi, Florence, April 13 - September 22, 2019, p. 117, no. 11.
LITERATURE: (Selection, each a different copy)
Otto Julius Bierbaum, Stuck, Künstler Monographien, Bielefeld/Leipzig 1899 (illu. 145 and 146).
Fritz von Ostini, Franz von Stuck: Gesamtwerk, Munich 1909, p. 141 (illu.).
Thomas Raff, "Die Kraft des Mannes und die weiche Schmiegsamkeit des Weibes": Franz von Stuck, Das plastische Werk, ex. cat. Franz von Stuck Geburtshaus, Tettenweis 2011, pp. 48-52 (fig.).
Franz von Stuck sketched his dancer shortly after he had married Mary in 1897. Her role in Munich’s high society and her wealth were decisive factors for Stuck's rise to fame. He expressed his admiration for this fascinating woman in numerous portraits. Mary is also the model for the sculpture of the dancer, whose facial features he idealized in an antique manner. The composition takes up the motif of the dancer relief from 1895, which, in turn, was inspired by the veil or serpentine dances of Loïe Fuller that were a sensation in Paris and made the dancer an icon for artists and poets. She first performed her program at the Folies Bergère in December 1892. But the intoxicating dancing maenad of ancient mythology also played a significant role in Stuck's artistic cosmos, which was permeated by the intellectual and historical currents of the time. In painterly, ornamental lines, he shaped the flowing movement of the finely pleated robe, which clings closely to the body, as well as the hair laid in soft waves. The dynamism of the rotational movement and the slightly forward leaning body lend the statue a liberated, buoyant expression, emphasized by the subtle smile that plays around her lips - reminiscent of the Hellenistic figures of the forward-striding goddess of victory Nike, who also appeared in the Munich ‘Angel of Peace’, created around the same time, behind which Stuck had his neoclassical villa built in the extension of Prinzregentenstrasse from 1897. The "Dancer", one of Stuck's most graceful sculptures, was first shown at the 1898 Secession exhibition in Munich. It is Stuck's most liberated and most lively bronze, and was conceived as a female counterpart to the "Athlete" with resembles Stuck; Stuck used the two statues to decorate the predella zone of his newly designed artist's altar around 1902, crowned by his famous painting "Sünde". In Stuck's imagination, the woman is characterized by her "softness" and the man by his strength - thus both are bound together in their fascination with the other through their mutual erotic attraction. [KT]
365
Franz von Stuck
Tänzerin, 1898.
Bronze with black patina
Estimate:
€ 12,000 / $ 12,840 Sold:
€ 25,400 / $ 27,178 (incl. surcharge)