Seven Sins to Rule Them All

The painting that scholars forgot.

Ernst Ludwig Kirchner, Die Erscheinung der Sieben im Eulenspiegel (Apparition of the Seven Deadly Sins to Eulenspiegel) 1926

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Whenever I travel I always plan a whole day to spend in the local museum. On my recent trip to Chicago, I of course had to go to the Art Institute of Chicago. I spent a total of six hours trying to see everything that they had, an obviously impossible task to see the over 300,000 pieces the museum holds. Feeling defeated realizing that I couldn’t see everything I wandered up to the very top floor. I spent the rest of my time in the modern art exhibit. The very final painting I saw was “Apparition of the Seven Deadly Sins to Eulenspiegel.” Safe to say it left a lasting impression.

Ernst Ludwig Kirchner is a name you've probably never heard of before, but his art was influential to German modernism. He was a figurehead in the expressionist movement for pre-war Germany, along with artists Otto Dix, Karl Schmidt-Rottluff and Ludwig Meidner.

Even if you don't know what German expressionism is I promise you have seen its influence on contemporary media. Cult classic horror films like “Edward Scissorhands”, “Dracula (1931)” and “Bride of Frakenstinen” were all inspired by the themes of madness, insanity, and betrayal that were commonly shown in expressionism.

German Expressionism emphasized the artist's inner feelings or ideas over replicating reality. This is the start of abstractionist theory. Before this movement almost all art was created by replicating things you could see; expressionism started to explore abstract thought. 

Kirchner’s sickly sweet style is identifiable by the vibrant colors, angular lines and deep shadows. “Street, Berlin” shows the fundamentals of Kirchner’s style and his fascination with things that lurk in the shadows.

“It seems as though the goal of my work
has always been to dissolve myself
completely into the sensations of the
surroundings in order to then integrate
this into a coherent painterly form.” -Ernst Ludwig Kirchner

He moved to Berlin in 1913 and found inspiration in the city itself. He painted the chaos that surrounded the rapidly growing metropolis. If you know even a little bit of history, you know what happens the following year.

1914 was the start of World War I. Kirchner volunteered for service, but the war was a destructive tool on his body and mind. One year later Kirchner suffered a severe mental and physical breakdown, he spent a lengthy time recovering in German sanatoriums. 

This fascinating painting is often neglected in conversations on the life works of Kirchner. Studies of Kirchner’s late work often focuses on his depictions of the tranquil German countryside. “Apparition of the Seven Deadly Sins to Eulenspiegel” was created in 1926, years after his discharge from the military. But is so noticeably different from his other works at this time.

The chaos of post-war Germany was a popular artistic inspiration. Dadaism is a whole movement born out of the chaos and confusion of the post-war environment. In “Apparition of the Seven Deadly Sins to Eulenspiegel”, Kirchner depicts the madness of war, the sins of war – pride, greed, lust, envy, gluttony, wrath, and sloth are all products of a society ravished. The sins here are on display for all. The inappropriateness almost mocks the idea of war. If you see this as offensive and crossing the line, why don't you see the war in the same way? 

Ok, but who is Eulenspiegel? Til Eulenspiegel is a prankster from German folklore. Til sowed confusion and disorder wherever he went. This painting is inspired by the traditional story of Eulenspiegel. Eulenspiegel is not the villain, he is the facilitator in a villainous world — He merely thrives in the chaos. In this painting, we are viewing the scene from Eulenspiegel’s point of view. We are viewing the world through his eyes, and seeing the chaos that he has facilitated.

The original Eulenspiegel depiction of sin

Chaotic sin replaces the tranquil and colorful countryside. This deviation is a purposeful act that illustrates the frustration and anger that was felt by most German citizens. The art is undeniably German, and the use of classical culturally important literature uniquely connects the current struggle of post-war Germany to old German history.

The Bible opens not with the beginning of sin or evil, but with the presence of unexplained evil. All evil can not be explored until after it has happened. World War I was uniquely tragic because of the use of technology that was solely created for the purpose of destruction. New sins were created from this war, all Kirchner does is depict the harm the war caused.

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Further Reading-

While researching I liked this analysis by Sarah Dotson. It helped with my understanding of his artistic journey and how his style shifted.

“Staggs says you can see his “shifting understanding of who he was as a man and an artist.” Kirchner’s aesthetic trajectory can be traced through his experimentation with different materials, colors, and settings. Self-Portrait as a Soldier comes out of an emotionally turbulent moment in the artist’s life, painted just as he began treatment in sanatoriums across Germany and Switzerland trying to recover from the trauma inflicted by war.”

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Since you made it so far here’s a little treat. Try this personality test based on what first drew your attention in the painting.

@franateeWhat do you first see in the Apparition of the Seven Deadly Sins to Eulenspiegel? #artprobe

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