A hulking skeleton, draped in ermine and crowned with jagged iron, rests a foot upon the globe, casually toppling a royal throne with a flick of its ivory wrist. This unsettling image, titled Mors Imperator (“Death is the Ruler”), is more than a striking allegory of mortality; it’s a painting steeped in the anxieties of 19th-century Germany, and a testament to the power of art to provoke – and to the paranoia of those in power. After more than a century of relative obscurity, the work is finally being exhibited in a major state institution, the Alte Nationalgalerie in Berlin, opening to the public this Sunday and running through mid-November.
The story of Mors Imperator is a window into a period of rapid change and rigid social hierarchies. Painted in 1887 by Hermione von Preuschen, the artwork wasn’t immediately embraced. In fact, it was rejected by the Berlin Academy of the Arts, with authorities fearing it could be interpreted as a veiled critique of the aging Emperor Wilhelm I, who had recently turned 90. The rejection sparked a scandal, revealing the sensitivities of the German monarchy and the lengths to which they would go to control the narrative, even in the realm of art. This incident highlights how autocratic regimes often perceive hidden meanings and potential threats in creative expression.
Von Preuschen, born in Darmstadt in 1854, was a multifaceted artist – a poet, traveler, and painter known for her large-scale historical still lifes. She was likewise a vocal advocate for women’s education, delivering a passionate speech at the 1896 International Women’s Congress in Berlin, calling for equal access to artistic academies. Art historian Birgit Verwiebe emphasizes that von Preuschen, while bold and self-assured, was not driven by political motives. “She was not a political person, and there is no record of her having any anti-monarchical instincts. After all, she came from nobility herself,” Verwiebe stated, according to reporting by The Guardian. The Guardian details the painting’s complex history and the recent rediscovery of its significance.
Extensive research has revealed no evidence that von Preuschen intended the skeleton to represent Kaiser Wilhelm I. The coat of arms depicted on the throne is a creative invention, bearing resemblance to French royal insignia rather than German ones. Researchers have identified the crown tumbling to the ground as being modeled after a French royal crown housed in the Louvre Museum. This detail further undermines the theory that the painting was a direct attack on the German emperor. The Alte Nationalgalerie’s website confirms these findings and details the extensive research conducted on the artwork. The Alte Nationalgalerie website provides further information about the exhibition and the painting’s history.
A Vision Unfulfilled: The Larger Cycle
Mors Imperator was conceived as the first part of a ten-painting cycle exploring the themes of life, death, and love. It was intended to be juxtaposed with a companion piece, Regina Vitae (“Queen of Life”), at the Academy exhibition. However, von Preuschen was unable to complete Regina Vitae in time for the submission deadline, potentially contributing to the initial rejection of Mors Imperator. The incomplete cycle underscores the artist’s ambitious vision and the unfortunate circumstances that prevented its full realization.
From Rejection to Revelation
Devastated by the Academy’s decision, von Preuschen took the unusual step of directly appealing to Emperor Wilhelm I, explaining her artistic intentions. While the Emperor’s secretary responded that Wilhelm himself had no objections to the subject matter, the Academy remained steadfast in its rejection, dismissing the painting as “the inartistic expression of a skewed thought.” Undeterred, von Preuschen published a letter detailing the situation in a Berlin newspaper and even rented a shop space on Leipziger Strasse, unveiling the painting behind curtains for a dramatic reveal. Despite an admission fee equivalent to approximately €8 today, the exhibition became a sensation, catapulting von Preuschen to overnight fame.
Mors Imperator was eventually sold to a Swiss businessman in 1892. Following von Preuschen’s death in 1918, her remaining works were donated by her daughters to a local museum in Berlin’s Alt-Mariendorf district. A retrospective of her work in 2013 at that museum included a copy of the infamous painting. Now, on loan from that museum, the original Mors Imperator takes its place in the national narrative at the Alte Nationalgalerie.
A Timely Resonance
The return of Mors Imperator to Berlin is particularly poignant given the historical context of its creation and the subsequent events of the “Year of the Three Emperors” in 1888. Wilhelm I died shortly after the painting’s completion, followed by his son, Frederick III, who succumbed to throat cancer just 99 days after ascending the throne. This rapid succession of emperors served as a stark reminder of the transience of power, a theme powerfully embodied in von Preuschen’s work. The painting’s message – that death ultimately reigns supreme – proved tragically prescient.
Hermione von Preuschen’s life and work represent a fascinating intersection of artistic ambition, social commentary, and personal resilience. Her story, and the story of Mors Imperator, serves as a reminder of the enduring power of art to challenge conventions, provoke thought, and reflect the anxieties of its time. The exhibition at the Alte Nationalgalerie offers a rare opportunity to engage with a work that was once deemed too controversial for public display, and to appreciate the enduring legacy of a remarkable artist.
The exhibition at the Alte Nationalgalerie runs until mid-November, offering visitors a chance to confront von Preuschen’s powerful vision firsthand. Further information about upcoming exhibitions and events at the museum can be found on the Staatliche Museen zu Berlin website. Staatliche Museen zu Berlin provides details on visiting hours, ticket prices, and accessibility information.
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