Frühling 1900

Franz von Stuck’s ‘Frühling’ or ‘Spring’ presents a modern reimagining of classical iconography, painted in Germany at the height of the Symbolist movement. The figure’s loose hair, the garland, and the suggestive nudity evoke classical depictions of nymphs and goddesses. This return to classical imagery was characteristic of the art academies of the time. But Von Stuck’s choice to portray this figure in profile, in a style reminiscent of ancient coins, adds a distinct tone. It evokes the ‘femme fatale’ archetype explored by Symbolist artists like Klimt, Moreau, and Munch. The image can be seen as a commentary on the changing role of women in society. Were they icons of beauty or figures of corruption? Analyzing this work through institutional records and studies of Symbolist aesthetics sheds light on its cultural significance. This highlights the important role of social and institutional contexts in shaping artistic meaning.