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| Franz von Stuck Cover of Pan 1895 lithograph Universitäts Bibliothek, Heidelberg |
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| Franz von Stuck The Lost (Faun in Snow) 1891 oil on canvas Belvedere Palace, Vienna |
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| Franz von Stuck Expulsion from Paradise ca. 1890 oil on canvas Musée d'Orsay, Paris |
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| Franz von Stuck Pietà 1891 oil on canvas Städel Museum, Frankfurt |
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| Franz von Stuck Chasse Fantastique 1890 oil on canvas Villa Stuck, Munich |
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| Franz von Stuck Mermaid 1891 oil on panel private collection |
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| Franz von Stuck (designer) Dancers 1897-98 bronze relief Villa Stuck, Munich |
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| Franz von Stuck Self Portrait in the Studio 1905 oil on canvas Alte Nationalgalerie, Berlin |
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| Franz von Stuck The Walk 1903 oil on canvas Museum Georg Schäfer, Schweinfurt |
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| Franz von Stuck The Seesaw 1898 oil on canvas Villa Stuck, Munich |
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| Franz von Stuck The Struggle for Woman 1905 oil on panel Hermitage, Saint Petersburg |
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| Franz von Stuck Salome 1906 oil on canvas Lenbachhaus, Munich |
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| Franz von Stuck The Sin 1893 oil on canvas Neue Pinakothek, Munich |
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| Franz von Stuck The Sin 1912 oil on canvas Alte Nationalgalerie, Berlin |
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| Franz von Stuck The Sin (detail) 1912 oil on canvas Alte Nationalgalerie, Berlin |
"Though he was a professor at Munich's Akademie der Bildenden Künste, the art of Franz von Stuck marked a departure from both the Academic and Realist styles that had dominated European art during the second half of the 19th century. "When choosing my subject matter, I seek to render only the purely human, the eternally valid," said the artist in an interview in 1912, and overarching themes of Stuck's work include preoccupations with love, lust, violence and chaos, often explored through a mythological or allegorical lens. . . . A founder-member of Munich's Secession, the city's premier avant-garde artists' association, in 1892, Stuck's career bridged the progressive and official sides of Munich's art world. His success during the 1890s and first decade of the new century was such that he was able to construct a palatial villa in Munich, which is now a museum dedicated to his work. . . . Though by the beginning of the First World War Stuck's signature style would come to be regarded as excessive and vulgar, his interest in extreme emotional states and his expressive manipulation of color, space, and form were eminently modern. . . . For much of the last century art historians disregarded Stuck's work, and Symbolism generally, as an aberration in the narrative which connects 19th and 20th century painting, but recent studies have finally begun to acknowledge the innovation and importance of Munich's "painter prince" in the development of modern art."
– from a biographical sketch published by Christie's, London