“Could the ‘Sitzengebliebene’ not be turned into 100 frying pans?” That’s what a letter left at the scene lamented. The scene involved tar and feathers. The victim? Die Sitzende.
Die Sitzende is a bronze sculpture by British artist Henry Moore. He originally named it Draped Seated Woman. The story of Die Sitzende is one of artistic vision, public outcry, and eventual acceptance.
In 1957, city officials wanted to enhance the new Stadtbad Elberfeld. This was Wuppertal’s “swimming opera”. They decided to place a sculpture in front of it. The budget was 50,000 to 55,000 DM. Several artists submitted designs. The art commission chose Henry Moore on February 26. They believed his style suited the building’s modern architecture.
Moore visited on March 31, 1957. He liked the building’s bold design. He suggested a seated woman figure he already had in mind. His initial price was 78,000 DM. Through negotiation, Moore lowered it to 50,000 DM. He had one condition. He could make two more casts of the sculpture. These could not be sold in Germany.
Despite this agreement, five more casts were made. The sculpture was cast by Susse Fondeur in Paris. The base reads “Moore 1”. Die Sitzende was first shown publicly on October 11, 1958. This was at the reopening of the former Ruhmeshalle in Barmen. It was displayed in the entrance hall of the Haus der Jugend. The platform with five steps was not ready at the Schwimmoper.
Die Sitzende then went to documenta II in Kassel in the summer of 1959. The catalogue described it as “Large Seated Woman Figure on Steps 1957/58 Bronze”. The city of Wuppertal owned it.
On November 20, 1959, the sculpture returned to Wuppertal. It was unveiled in front of the Schwimmoper on November 24. Public reaction was largely negative. Many critical letters appeared in the General-Anzeiger. Protests peaked. In the night of December 5 to 6, 1959, the sculpture was tarred and feathered. The perpetrators left a note. They regretted the “Sitzengebliebene” could not be turned into frying pans.
In the Wuppertal Carnival of 1960, Die Sitzende was a theme. It was called a “Moore corpse” in the parade. Building Commissioner Friedrich Hetzelt was angry. On April 1, 1960, he had seven dwarfs placed around it for protection.
In late 1963, the Wuppertal Stadtwerke gifted Die Sitzende to the Kunst- und Museumsverein. Today this is the Von der Heydt-Museum. The condition was that a new location be found. In late 1965, it was decided to move it to the new Schauspielhaus on Bundesallee. A General-Anzeiger poll showed 50% still disliked it. In the 1966 Carnival, it was again a theme. It was transformed into a Funkenmariechen and adorned three floats. The Wuppertal lion was “the reclining one”. The move took place in September 1966. It was in time for the Schauspielhaus opening on September 24.
Henry Moore said in the 1970s that he was moved most by a sculpture that was full-bodied and self-sufficient. It should have contrasting masses and not be completely symmetrical. It should be static, powerful, and vital. It should radiate the energy and power of great mountains. Sculpture should have some unclear and hidden meaning. People should want to keep looking and thinking. It should never reveal everything at once.
Over time, attitudes toward Die Sitzende softened. People realized Wuppertal was one of few cities with a Gewandfigur. Its value increased greatly. In 1998, a cast sold for over 570,000 pounds at Christie’s.
Die Sitzende was in front of the Schauspielhaus from 1966 to 1997. It was then in the Von der Heydt-Museum forum. Later, it was stored in the museum’s depot. From 2010, after the Schwimmoper renovation, it sat for six years in a niche in the entrance hall. In 2016, it was part of a Moore exhibition in Skulpturenpark Waldfrieden. That year, it was loaned to the Landesmuseum Münster. In 2017, it returned to Wuppertal. Since then, it has been in the Skulpturenpark. It has a permanent spot on the meadow slope opposite Villa Waldfrieden. Six casts of the figure exist worldwide.