the life and works of sascha schneider - ETD - Louisiana State ...

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TABLE OF CONTENTS ABSTRACT …………………………………………………………………………… iii INTRODUCTION ……………………………………………………………………… 1 CHAPTER 1. SASCHA SCHNEIDER: EARLY LIFE, WORK, AND TIES TO SYMBOLISM …………………………………………………………... 5 CHAPTER 2. GERMAN LITERATURE AND ILLUSTRATIONS: SASCHA SCHNEIDER AND KARL MAY…...…………………………………. 25 CHAPTER 3. SCHNEIDER’S LATER LIFE AND WORK ………………………… 41 CONCLUSION ………………………………………………………………………... 61 BIBLIOGRAPHY ……………………………………………………………………... 63 VITA …………………………………………………………………………………... 66 ii
ABSTRACT Sascha Schneider was an artist that was incredibly popular, but only for a short time during his life in the late nineteenth and early twentieth- century. This thesis will discuss the life and work of Schneider, with special attention on the significance of the interpersonal relationships he developed, and the importance of these relationships to his artistic career. By tracing his early life in St. Petersburg, Russia and his transition to an established life in Dresden, Germany, one can obtain a sense of his early influences. In Dresden he received an Education from the Dresden Art Academy, and it was there that he made on of his most important friendships with artist Max Klinger. Klinger helped Schneider establish himself as a Symbolist painter, and introduced him to other artists who proved to be paramount to his success later in life. Schneider eventually teamed up with novelist Karl May, and was commissioned to created the covers for over twenty-five of May’s adventure stories. Through his work is May, Schneider’s art was placed in the hands of many young Germans. Later in life, Schneider created a school for boys, Kraft- Kunst, with friends Richard Müller and Hans Unger. This school focused on physical fitness and the creation of the perfect male form, while fostering the artistic talents of the young students. iii
Page 1: MONSTERS AND MEN: THE LIFE AND WORK
Page 5 and 6: importance of such relationships, s
Page 7 and 8: May met at the beginning of Schneid
Page 9 and 10: Russia’s socio-cultural context a
Page 11 and 12: intellectual and visual stimulation
Page 13 and 14: [t]he essential trait of Symbolist
Page 15 and 16: mysticism for which Schneider’s w
Page 17 and 18: Figure 4, Sascha Schneider, Eins Is
Page 19 and 20: Figure 6, Sascha Schneider, Judas I
Page 21 and 22: human emotions, and in this way bec
Page 23 and 24: Figure 8, Max Klinger, Brahmsphanta
Page 25 and 26: analysis of the painting by evoking
Page 27 and 28: Figure 11, Sascha Schneider, Der Wa
Page 29 and 30: John Heckwelder’s Account of the
Page 31 and 32: etween the years 1880 and 1893. 36
Page 33 and 34: them a scholarly appearance. 40 May
Page 35 and 36: Schneider’s history of traveling
Page 37 and 38: Figure 14, Sascha Schneider, Durchs
Page 39 and 40: May’s most popular works would al
Page 41 and 42: Figure 17, Sascha Schneider, Winnet
Page 43 and 44: working relationships. Karl May wri
Page 45 and 46: elieved that the human figure was
Page 47 and 48: Weimar, Schneider wrote to Karl May
Page 49 and 50: Figure 19, Gürtelbinder (The Belt
Page 51 and 52: Figure 20, Sascha Schneider, Kriegs
Page 53 and 54:
Figure 22, Sascha Schneider, Waffen
Page 55 and 56:
Figure 24, Sascha Schneider, Gegen
Page 57 and 58:
Figure 26, Otto Dix, Sturmtruppe ge
Page 59 and 60:
Friedrich Ludwig Jahn in the early
Page 61 and 62:
focus of the new direction in his a
Page 63 and 64:
Figure 31, Sascha Schneider, Selbst
Page 65 and 66:
audience, including many young male
Page 67 and 68:
Lewis, Beth Irwin. Art for All: The
Page 69:
VITA Alice Wolfe was born and raise
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