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Updated: May 4, 2025
When we turn from the examples of Boecklin's work, by no means the most impressive examples, exhibited in America, to Stuck's "Inferno" we perceive both the influence of Boecklin and the powerful individuality that mingles with it.
"It was before a window like this," remarked Stahl, apparently casually, "that I once in Tiflis overheard two mountain Georgians talking together as they examined a reproduction of a modern picture Boecklin's 'Centaur. They spoke in half whispers, but I caught the trend of what they said. You know the picture, perhaps?" "I've seen it somewhere, yes," was the short reply.
We feel that Blake, with all his struggle to utter truth by means of symbol, never allows his mind to lose the idea that "Living form is eternal existence," but in Boecklin's pictures "living form" is often buried beneath his colored clays. Thus we see that it cannot truly be said of him and his followers that the idea is of first importance to them.
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