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ART OF

EGON SCHIELE

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Art cannot be modern... Art is primordially eternal.
Albertina, Vienna, 1912

INTRO  

02
FEMALE LOVERS,
1915
CHAPTER 1

DUCTION

03
Prophets (Double
Self-Portrait), 1911

Egon Schiele's work is so distinctive that it resists categorization. Schiele analyzed the human body, while destroying any cultural and even moral convention of his time.

( 01 )

Schiele withdraws more into himself than aestheticism, weaving fantasies about his inner life and drawing sustenance from them. He believed that the primary focus of art should be on feelings, and the pictorial medium should be bent to effectively convey those feelings. Some see his work as grotesque, erotic, or disturbing, focusing on sex, death, and discovery.

His art is renowned for its intensity and raw sexuality; his nude studies penetrate brutally into the privacy of his models and finally confront the viewer with his/her own sexuality. The distorted body shapes, limited color palette and the expressive line that characterize Schiele's paintings and drawings, mark the artist as an early exponent of Expressionism.

04
Lovemaking, 1915
( 02 )

Defender above all of the individuality of the artist, few artists have been more individual than Schiele. He was almost exclusively a cartoonist of the human figure (including an obsession with self- portraiture). His interest in sexuality sometimes borders on pornography rather than eroticism.

Schiele’s art mirrored something, had a distinct quality of unease, a sense that the line between sanity and madness is incredibly thin, a conviction that we are all rapacious animals beneath the skin, and an awareness of the deterioration and mortality of everything. His art proved and still proves so fascinating because it gives coherent form to so many fears.

05
stein on the Danube, Seen from the South, 1913
06
PORTRAIT OF GERTI SCHIELE, 1909
07
Man and Woman, Embracing, 1917
08
Small Tree in Late Autumn, 1911

ARTISTIC

STYLE

09
SEATED FEMALE NUDE WITH ELBOWS PROPPED, 1914

Egon Schiele's extremely distinctive style was built on one main foundation and mean of expression - the line.

10
SELF-PORTRAIT WITH PEACOCK WAISTCOAT, STANDING, 1911
( 03 )

Schiele ignores light and shadow effects which model the body, dispenses with shadow strokes and divests the character of all spatial containment. In his atelier, he often works on a ladder, from where he captures his models from a bird’s eye view perspective in an extreme visual angle of under and oversight. He scarcely models the bodies he paints, only a few colored splotches animate the white paper surface. His stroke becomes calligraphy, which captures the body’s expression with just a few lines.

In contrast to the reluctant, bony aspect of the shoulders and pelvis, is the round diffraction of the chest, orange nipples and vulva become wounds. The physiognomy of his models, however, remains anonymously phantom-like, the button eyes could sooner belong to a doll, which could be any woman. The body posture is directed at the gaze of the viewer, before whom she exhibits her genitals. The splayed gesture of the hands he often uses in his figurative works appear intractably hard and therein calls to minds the hands of Schiele.

11
sitting girl, 1917
12
PORTRAIT OF EDITH SCHIELE, 1915
13
THE OLD CITY III, 1918
14
LOVERS, MAN AND WOMAN, 1914
15
MOTHER AND CHILD I, 1911
Bodies have their own light which they consume to live: they burn, they are not lit from the outside.
From his letter to Hermann Engel,
September 1911
17
danae, 1909
IN SEARCH OF AN INDIVIDUAL VOICE
( 04 )

Schiele's early works, from 1907 and '08, demonstrate his desire to experiment and his ongoing search for an individual voice. He employed a wide variety of subjects, from still life to landscapes to portrait studies.

In 1907, Schiele sought out Klimt, whose work he already greatly admired, and the two quickly formed a mentor-mentee relationship that would have a major impact on the young artist's early development. Klimt not only exerted his influence over Schiele in the studio, but also in introducing Schiele to patrons, models, and the work of other artists—such as Vincent van Gogh, Edvard Munch, and Jan Toorop.

18
self-portrait facing right, 1907
19
mother and child, madonna, 1908
20
house between trees, 1908

EARLY WORKS

1907 - 1910

GUSTAV KLIMT'S INFLUENCE

KLIMTS'S INFLUENCE GUSTAV

( 05 )

The young artist gradually comes under Klimt's influence throughout 1908, trying out large canvases with Klimtian compositional and decorative elements. Klimt's influence on Schiele can be seen in his portraits; in their use of profile poses, triangulated flat silhouettes, and ornamental patterning.

In his later works from the second half of 1909, he switches to blank backgrounds, which emphasize the isolation of the figure, metaphorical as well as visual, against a stark surrounding void. His drawings now frequently feature figures offset against flat blocks of clothing, and his lines, which are more overtly expressive, occasionally feature multicolored crayon work.

I went by way of Klimt until March. Today I believe I am someone entirely different.
From his letter to Dr. Josef Zermak
on November 5th, 1910
22
Portrait of Gerti Schiele, 1909
23
Portrait of the Painter Anton Peschka, 1909
( 06 )

Schiele adopted the aesthetics of Klimt, took some of his subjects and transformed them into something new, removing the façade, the golden beauty, tenderness and dreamy eroticism. From 1910, works characterized by virtuosic use of line in penetrating portraits with expressive, contorted, sexually explicit bodies.

In contrast to the ornamented surfaces in Klimt's art nouveau paintings, Schiele does not cover the background with decorations. He favors emotionally inflected hues and exaggerated, expressive contours instead. Schiele's art increasingly takes on a darker tone after he completed his stylistic break from Klimt, metaphorically and literally.

24
the dancer moa, 1911

EROTICISM IN

SCHIELE'S ART

No erotic work of art is filth if it is artistically significant; it is only turned into filth through the beholder if he is filthy.

From his prison diary, 1912
26
LESBIAN LOVERS, 1914

The master of drawing and line.

( 07 )

The German art encyclopedia, Thieme and Becker, qualifies Schiele as an eroticist because of the erotic portrayal of the human body in his art. In this case, however, it is for him not only a study of feminine but also male nudity, especially his own. His models characterize incredible freedom concerning their own sexuality, self-love, homosexuality, or voyeuristic attitudes, as well as skillful seduction of the viewer.

Vibrant postures, frenetic gestures and delirious gazes are the essence of the work of the Austrian artist Egon Schiele. His nudes were hard and sharp, with cutting and incisive lines, but not only physical: the psychological depth of those portrayed goes beyond any sexuality. The figures are extremely thin with unnatural poses, wild eyes and misshapen hands, writhing in pain or lust.

27
Reclining Female Nude with Legs Spread Apart, 1924
28
Kneeling Girl Resting on Both Elbows, 1917
29
lovers, 1913
30
Two Female Nudes, One Reclining One Kneeling, 1912
31
two women
embracing, 1915
32
Kneeling Girl Resting on Both Elbows, 1917
( 08 )

The stereotypical notions of feminine beauty didn't appeal to Schiele. His nude sketches are contours of the body on paper, sometimes sinuous and almost always irregular and angular, since the artist seems to be fascinated by bony structures. He was aware that the urge to look is interconnected with the mechanisms of disgust and allure. The body contains the power of sex and death within itself.

HIS

MODELS

( 09 )

At the core of his creation, Schiele sets the difference from his master: his muses are not those of Klimt. Schiele finds his models on the streets, young girls of the proletariat and prostitutes; he prefers the child-woman androgynous types. Thin, gaunt bodies of his models characterize lower-class status, while full-bosomed, luscious ladies of the bourgeoisie express theirs through well-fed corpulence.

Despite their young age, Schiele’s models are aware of their erotic radiance and skillfully know how to set it into a scene. The masturbating gesture of the hand on the vagina accompanies the provocative gaze of the model. Schiele's drawings speak to simple body consciousness and the matter-of-course attitude with which the lower levels of society, where love for sale pertains to earning one's daily bread, deal with sexuality.

34
Kneeling with
Head Bowed Down, 1915
35
Standing Female Nude with a Blue Cloth, 1914
36
Girl with Black Hair, 1910
37
Woman in Black Stockings, 1913
38
Reclining Nude, 1917
39
Wally in a Red Blouse
Lyng on Her Back, 1913

HIS FAVOURITE

MODEL: HIMSELF

He regarded the self-portrait as one of his major subjects and showed himself more often than not fully or partially nude.

40
PREACHER, 1913
( 10 )

There are approximately 100 self-portraits with several nude studies of Schiele. In many of them he is depicted with an erect penis or directly masturbating, if not in full intercourse, presenting himself in a dilapidated state and sometimes openly showing his psychosexual disorders. For Schiele, it was the best way of exploring and exhibiting himself.

His nude studies depicting the rigid member, masturbating, go a step further and depicts him as a man fascinated by his own sexuality. This reversal in passivity accompanies the setting of a new goal: to be looked at. Moreover, the artist does more than invite us to look at and admire him. He announces that he is the subject of his art, whether directly and obviously in the form of self-portraits or indirectly by making whatever he draws and paints a record of his feelings and ideas.

The discrepancy between Schiele’s external appearance and his repulsively ugly self-portraits is astonishing. Gütersloh describes Schiele as “exceptionally handsome”, an elegant young man, whose good manners strangely contrasted his reputedly unpalatable manner of painting. Schiele, on the other hand, paints himself with a long skull-like face. 'Alles ist lebend tot,' he once wrote - everything is both living and dead.

41
42
43
44
45
46
47

All beautiful and noble qualities have been united in me. . . I shall be the fruit which will leave eternal vitality behind even after its decay.

From a letter to his mother,
March 1913

LOVE,

49
THE EMBRACE, 1917
50
portrait of
wally neuzil, 1912
51
lovers, 1913
LOVE, PASSION, ROMANCE & SEXUALITY
( 11 )

Egon Schiele's portraits prior to his relationship with Walburga Neuzil, or Wally, were often marked by an overt eroticism, but lacked a deeper psychological insight or representation of love. However, Wally's presence in Schiele's life had a profound impact on his art, and her influence can be seen in his later works. These paintings and drawings are more intimate and reveal Wally as a real woman rather than simply an object of desire.

RECURRING
THEMES

DEATH & FAMILY

52
lovers, 1914

How good! Everything is living dead.

From 'Pineforest', 1910
( 12 )

Schiele never ceased to be fascinated by decline and decay, whether registered in the faces and bodies of human beings or the autumnal configurations of natural things. His paintings and drawings often dramatize the mortality of everything. Even at the moment of its greatest perfection and glory, a flower has begun to decay. Schiele's landscapes—often devoid of people— and still life work too reflect his fascination with death.

In the clinic of the gynecologist Erwin von Graf, he studies and draws sick and pregnant women and pictures of new and stillborn infants. Schiele is “...astonished, he saw unusual changes in the skin, in whose sagging vessels thin, watery blood and tainted fluids trickled sluggishly, he marveled also at light-sensitive green eyes behind red lids, the slimy mouths and the soul in these unsound vessels”, reports Roesseler.

53
autumn tree wıth
fuchsias, 1909
54
mother wıth two chıldren II, 1915
55
red nude pregnant, 1910

DEAD

MOTHER

( 13 )

Egon Schiele's exploration of motherhood in his art is particularly poignant in his "Dead Mother" series of paintings from 1910-11. Reflecting his own complex and troubled relationship with his mother, Schiele repeatedly returned to the theme of motherhood throughout his career, culminating in his 1915 work "Mother with Two Children."

In the "Dead Mother" series, Schiele subverts traditional notions of nurturing and caregiving by depicting the mother figure as one who is giving death rather than life. The child in these paintings, often Schiele himself, is portrayed as experiencing separation from an overbearing and engulfing mother, represented by the progressive physical distance and growing autonomy of the child in each painting.

57
mother and child, 1914
58
woman with
homunculus, 1910
59
mother and child, 1912

My mother was the one who was most present in my early drawings. She was the most beautiful apparition in my childhood, and she remained so until the end.

To his friend, the art
critic Arthur Roessler

Egon Schiele's later works reveal a significant shift in his artistic style, with softer lines and a greater sense of tenderness and care.

60
mother and daughter, 1913
( 14 )

In contrast to his earlier paintings, which often portrayed intimacy as murderous and violent, Schiele's later works showcase a transformation in his self-expression. This is perhaps reflective of Schiele's own personal growth, as he embraced the role of husband and, later, father.

The figures in his paintings connect with each other on a deeper, more meaningful level, showcasing Schiele's growth as an artist and as an individual.It's possible that Schiele's personal life played a role in this shift. Inspired by his sister's pregnancy and his own marriage to Edith Harms in 1915, Schiele's eroticism became less violent and more focused on themes of balance, nature, and nurture. His experimentation with the theme of motherhood and family is evident in many of his later works, showcasing his evolution as an artist and his embrace of a more compassionate perspective.

61
the family, 1918
63
mother with children, 1913
62
blind mother, 1914
64
young mother, 1914
THANKS
FOR
SCROLLING
ART
   WOR
          KS
01     standing male nude with a red loincloth, 1914
02     FEMALE LOVERS, 1915
03     PROPHETS (DOUBLESELF-PORTRAIT), 1911
04     LOVEMAKING, 1915
05     STEIN ON THE DANUBE, SEEN FROM THE SOUTH, 1913
06     PORTRAIT OF GERTI SCHIELE, 1909
07     MAN AND WOMAN, EMBRACING, 1917
08     SMALL TREE IN LATE AUTUMN, 1911
09     SEATED FEMALE NUDE WITH ELBOWS PROPPED, 1914
10     SELF-PORTRAIT WITH PEACOCK WAISTCOAT, STANDING, 1911
11     sitting girl, 1917
12     PORTRAIT OF EDITH SCHIELE, 1915
13     THE OLD CITY III, 1918
14     LOVERS, MAN AND WOMAN, 1914
15     MOTHER AND CHILD I, 1911
16     Self-portrait with spread fingers, 1909
17     danae, 1909
18     SELF-PORTRAIT FACING RIGHT, 1907
19     MOTHER AND CHILD, MADONNA, 1908
20     HOUSE BETWEEN TREES, 1908
21     portrait of a woman, 1909
22     PORTRAIT OF GERTI SCHIELE, 1909
23     PORTRAIT OF THE PAINTER ANTON PESCHKA, 1909
24     tHE DANCER MOA, 1911
25     CARDINAL AND NUN, CARESS, 1912
26     LESBIAN LOVERS, 1914
27     RECLINING FEMALE NUDE WITH LEGS SPREAD APART, 1924
28     KNEELING GIRL RESTING ON BOTH ELBOWS, 1917
29     LOVERS, 1913
30     TWO FEMALE NUDES, ONE RECLINING ONE KNEELING, 1912
31     TWO WOMEN EMBRACING, 1915
32     KNEELING GIRL RESTING ON BOTH ELBOWS, 1917
33     STANDing woman in red, 1913
34     KNEELING WITH HEAD BOWED DOWN, 1915
35     STANDING FEMALE NUDE WITH A BLUE CLOTH, 1914
36     GIRL WITH BLACK HAIR, 1910
37     WOMAN IN BLACK STOCKINGS, 1913
38     RECLINING NUDE, 1917
39     WALLY IN A RED BLOUSE LYNG ON HER BACK, 1913
40     PREACHER, 1913
41     FIGHTER, 1913
42     SELF-PORTRAIT WITH LOWERED HEAD, 1912
43     Self Portrait in yellow west, 1914
44     SELF-PORTRAIT WITH RAISED BARED SHOULDER, 1912
45     THE SELF SEERS, DEATH AND MAN, 1911
46     SELF-PORTRAIT WITH CHINESE LANTERN PLANT, 1912
47     SEATED MALE NUDE, 1910
48     death and the maıden, 1915
49    THE EMBRACE, 1917
50     PORTRAIT OF WALLY NEUZIL, 1912
51     LOVERS, 1913
52     LOVERS, 1914
53     AUTUMN TREE WITH FUCHSIAS, 1909
54     MOTHER WITH TWO CHILDREN II, 1915
55     RED NUDE PREGNANT, 1910
56     dead mother I, 1910
57     MOTHER AND CHILD, 1914
58     WOMAN WITH HOMUNCULUS, 1910
59     MOTHER AND CHILD, 1912
60     mother and daughter, 1913
61     the family, 1918
62     blind mother, 1914
63     MOTHER WITH CHILDREN, 1913
64     YOUNG MOTHER, 1914