The motif of the serpent, in close association with a woman, relates to the Old Testament fall, and is depicted in the Bible in the Book of Genesis. The snake's head has eyes with highlights and an open mouth with the animal typical fangs, which is intended to trigger an association with the dangerous nature of the animal for the viewer. Nipples and navel form a downward stretched triangle with their points in the composition of the painting.Īn enlarged dark blue giant snake decorated with light blue patterns coils around her body and neck, appears with its head resting on the woman's right shoulder and breast and also looking directly at the viewer. The long black hair surrounds the almost white body with its half-visible breasts. Compared to the rest of the face, these eyes form a strong chiaroscuro contrast. Her face is shadowed, but the pupils of her large eyes with white highlights appear turned sideways to the left. The woman shown is Anna Maria Brandmaier from Bayerdilling, a childhood sweetheart and model of Stuck, who is in eye contact with the viewer. The Sin is a waist-length portrait the face of the woman is shown as a three-quarter portrait, and the face of the snake as an en face portrait. The painting has been owned by the Neue Pinakothek since 1893. Description External videoĭetail of Stuck's The Sin, showing the snake's head, Smarthistory It was considered the "spatial and ideal center of the house". Since 1901, a version of The Sin with a gold frame has hung on a kind of "altar" in the then Stuck's studio. In the Villa Stuck, completed in 1898, the painting has a special meaning. In 1899 in Vienna it received the "state gold medal" intended for foreign artists. It has since become an emblematic painting for the symbolist movement. It was bought by the Neue Pinakothek in Munich and became a critical and commercial breakthrough for Stuck. The Sin was first exhibited in 1893, at the inaugural exhibition of the Munich Secession, where it caused a sensation. The motif was conceived as a development of Stuck's 1889 painting Sensuality ( Die Sinnlichkeit). It was during this time that an erotic type of woman, the femme fatale, was emerging with wide eyes, skimpy late 19th-century clothing and a seductive pose as Stuck's trademark. Half-columns with Doric capitals also form the sides of the gilded architectural frame for this later 1893 painting. It shows a female figure standing between columns with Doric capitals. In the upper right corner is a bright field, while the rest of the surroundings are dark.Ī precursor to this painting was Stuck's drawing, History of the Allegories and Emblems, published in 1884. It depicts the nude Eve with a large serpent wrapped around her body. Some of these can be viewed at the Neue Pinakothek, in Munich, the National Gallery, in Berlin, the Galleria di arte Moderna, in Palermo, the Frye Art Museum, in Seattle, and at the Villa Stuck, in Munich, where it is enshrined in the artist's Künstleraltar. Stuck created twelve known versions of the painting. The Sin ( German: Die Sünde) is an 1893 painting by the German artist Franz Stuck.
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