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Paul Wullems

Gyula Maugsch and the Mythological Aesthetic: Faun and Nymph Around a Hollow Tree

Gyula Maugsch (1882–1946) was a distinguished Hungarian sculptor known for his evocative bronze sculptures, particularly those that explored the human form and mythological themes. His works reflect the influence of both Hungarian and broader European sculptural traditions, incorporating Art Nouveau and Art Deco elements. One of his most striking pieces, Faun and Nymph Around a Hollow Tree, exemplifies his technical mastery and his ability to convey movement, emotion, and narrative within a sculptural composition.

A Masterpiece of Mythological Symbolism

This monumental sculpture, crafted in bronze and copper, stands at an impressive 62 centimeters in height and weighs 12 kilograms. The scene portrays a faun and a nymph intertwined around an ancient, hollowed tree, capturing the tension and allure of their mythological encounter. The faun, a creature of the wild with goat-like features, reaches toward the nymph, who, in contrast, embodies delicate grace and ethereal beauty. The interaction between the two figures suggests a timeless struggle between untamed passion and fleeting innocence, a theme often explored in classical and neoclassical art.

Maugsch’s attention to anatomical precision and textural detail is evident in the way the musculature of the faun contrasts with the smooth, flowing form of the nymph. The tree, with its gnarled bark and cavernous hollows, serves not just as a backdrop but as an active participant in the scene, reinforcing the organic and primal essence of the composition. Beyond its artistic qualities, the sculpture also functions as a lamp, demonstrating Maugsch’s ability to blend fine art with functional design.

German Influence on Maugsch’s Work

While Maugsch was firmly rooted in Hungarian artistic traditions, he was deeply influenced by the German sculptural masters of his time. His education and artistic development coincided with an era when German realism and Symbolist sculpture were at their peak, particularly through the works of artists like Franz von Stuck and Adolf von Hildebrand. These sculptors emphasized both idealized human forms and dramatic, allegorical narratives, which can be seen reflected in Maugsch’s mythological subjects.

His time in Germany allowed him to absorb techniques that emphasized fluidity of movement, psychological depth, and architectural integration. This is evident in Faun and Nymph Around a Hollow Tree, where the figures do not simply stand isolated but interact dynamically with their environment. The influence of German Symbolism is particularly apparent in Maugsch’s use of contrast—between the polished, golden-hued nymph and the dark, rugged faun—creating a visual dialogue between light and shadow, innocence and desire.

Maugsch’s Lasting Legacy

Maugsch’s sculptural works, including Faun and Nymph Around a Hollow Tree, continue to be celebrated for their elegance and technical excellence. His ability to blend mythological storytelling with exquisite craftsmanship places him among the most notable Hungarian sculptors of the early 20th century. While his oeuvre spans various subjects—from nudes and allegorical figures to animal sculptures—his mythologically inspired works remain particularly captivating.

Through this piece, Maugsch not only pays homage to classical sculptural traditions but also reinterprets them with a distinctly early 20th-century sensibility. His fusion of Hungarian artistic heritage with German influences resulted in a unique sculptural language that continues to captivate collectors and art enthusiasts today.

Essay on Gyula Maugsch

Gyula Maugsch (1882–1973) was a Hungarian sculptor and educator renowned for his contributions to figurative and animal sculpture. Born on June 1, 1882, in Besztercebánya (now Banská Bystrica, Slovakia), he was the son of Nándor Maugsch, a factory worker, and Rozália Pold. Maugsch pursued his artistic education at the Berlin University of the Arts, studying under prominent sculptors Otto Geyer, August Gaul, and Reinhold Begas. During his twelve-year stay in Germany, he specialized in animal sculpture, honing his skills in this niche.

Upon returning to Hungary, Maugsch began teaching modeling in Székesfehérvár and later moved to Budapest in 1909. He debuted at the Műcsarnok exhibition in 1913 and became a regular exhibitor thereafter. In June 1918, serving as a war sculptor on the Italian front, he created numerous sculptures depicting war scenes, though many were later destroyed. His war photographs were also published in daily newspapers.

Maugsch’s oeuvre includes figurative compositions, portraits, and animal sculptures, the latter earning him significant acclaim. Notable works include the marble “Polar Bear” at the Collegium Hungaricum in Berlin, the elephant statues at the main entrance of the Budapest Zoo, and reliefs on the facade of the National Social Insurance Institute. His sculptures are housed in institutions such as the Hungarian Agricultural Museum and the Hungarian National Gallery.

Throughout his career, Maugsch received several awards, including the Ráth György Prize for his sculpture “Thirsty Elephants” and the Jankó János Small Sculpture Prize for “Saint Ladislaus.” He was also a member of the Association of Hungarian Artists and the Fészek Club.

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Gyula Maugsch (1882–1973) - Scultura, Faun and Nymph Around a Hollow Tree - 63 cm - rame e bronzo

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Gyula Maugsch (1882–1973) - Scultura, Faun and Nymph Around a Hollow Tree - 63 cm - rame e bronzo

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Gyula Maugsch (1882–1973) - Scultura, Faun and Nymph Around a Hollow Tree - 63 cm - rame e bronzo

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